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for Audio Visual Conservation 

Motion Picture and Television Reading Room 

Recorded Sound Reference Center 



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Miss Louise Lovely 
one of the beauties of the 
modern photoplay who use 
and endorse Ingram 's 
Milkweed Cream. 

Itlfft&m'S MilKw&ed Ct&attl 

Through constant use I have 
found your Milkweed Cream 
keeps the skin always soft 
and clear and with Ingram's 
Face Powder forms a com- 
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valuable adjunct to every 
woman's toilet. 

With kindest regards, 


Send us 6c in stamps 
for our Guest Room 
Package containing In- 
gram's Face Powder and 
Rouge in novel purse 
packets, and Milkweed 
Cream, Zodenta Tooth 
Powder, and Perfume 
in Guest Room sizes. 

"A woman can be young but once, but she can be youthful 
always." It is the face that tells the tale of time. Faithful use 
of Ingram's Milkweed Cream will keep the skin fresh and youthful. 

Ingram's Milkweed Cream is a time-proven preparation. 
1917 marks its thirty-second year. It is more than a "face 
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Buy It in Either Size, 50c or $1.00 

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Established 188S 
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The clashing music of the 
worlds greatest bands 

-on theVictrola 

There's a sparkle and swing to band music 
that stirs the heart and arouses the enthusiasm. 

You will be thrilled indeed by the band music 
that is brought to you on the Victrola — the music 
of the world's greatest bands! 

Sousa's Band, Pryor's Band, Conway's Band, 
Vessella's Band, United States Marine Band, 
Black Diamonds Band of London, Band of H. M. 
Coldstream Guards, Garde Republicaine Band of 
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famous organizations actually parade before you. 

Hear this inspiring band music at any Victor dealer's. He will gladly 
play any music you wish to hear. And he will demonstrate the various styles 
of the Victor and Victrola— $10 to $400. 

Victor Talking Machine Co., Camden, N. J., U. S. A. 

Berliner Gramophone Co., Montreal, Canadian Distributors 

Important Notice. Victor Records and Victor Machines are 

scientifically coordinated and synchronized by our special processes 

of manufacture, and their use, one with the other, is absolutely 

essential to a perfect Victor reproduction. 

"Victrola j s the Registered Trade-mark of the Victor Talking Machine 

Company designating the products of this Company only. 

Warning: The use of the word Victrola upon or in the promotion or sale of 

any other Talking Machine or Phonograph products is misleading and illegal. 


,?Mt x.. 

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New Victor Records demonstrated at all dealers on the 1st of each month 





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AGENTS MAKE BIG MONEY. Fast office seller; fine 
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INVENT SOMETHING; your ideas may bring wealth; 
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10 cents. Special Trial Offer, any size. 6 prints free. 
Or 6 prints from Kodak negative any size for 10 cents. 
S x 10 Mounted Enlargements, 35 cents. Roanoke 
Photo Finishing Company (formerly Roanoke Cycle 
Co.), 206 Bell Ave., Roanoke, A'a. 


Weddingf Invitations, Announcements, etc., 100 in Script 
lettering, including inside and outside envelopes. $2.75; 
100 Visiting Cards. 7 5 cents. Write for Samples. 
M. Ott Engraving Co.. 997 Chestnut St., Phila., Pa. 



starts you. No experience needed. Our machines are 
used and endorsed by Government institutions. Catalog 
Free. Atlas Moving Picture Co., Dept. M-525, So. 
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Ave., New York. 


EARN $25 WEEKLY, spare time, writing for news- 
papers, magazines. Experience unnecessary; details 
free. Press Syndicate, 45 7 St. Louis, Mo. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 




Patents Secured or Tee Returned. Actual search free. 
Send sketch. 1917 Edition 90-page patent book free. 
My free sales service gets full value. 
Geo. P. Kimmel, 262 Barrister Bldg., Washington, D. C. 

Patents. Write for List of Patent Buyers who wish to 
purchase patents and What to Invent with List Inven- 
tions Wanted; $1,000,000 in prizes offered for inventions. 
Send sketch for free opinion of patentability. Four 
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Victor J. Evans & Co., 833 Ninth, Washington, D. C. 

advice Free. Highest references. Best results. 
Promptness assured. Watson E. Coleman, 624 F. 
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INVENT SOMETHING; your ideas may bring wealth; 
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Ideas Wanted — Manufacturers are writing for patents 
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PATENTS — R. Morgan Elliott & Co., Patent Attorneys. 
Mechanical, Electrical & Chemical Experts, 720-728 
Woodward Building, Washington, D. C. 


OLD COINS WANTED — $4.25 each paid for U. S. 
Flying Eagle Cents dated 1856. $2 to $600 paid for 
hundreds of old coins dated before 1895. Send TEN 
cents at once for New Illustrated Coin Value Book, 
4x7. Get posted — it may mean your good fortune. 
C. F. Clarke & Co., Coin dealers, Box 99, Le Roy, N. Y. 

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lc and 2c kind and others up to $1. I pay as high as 
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also. Send 10c for price list. A. Scott, Cohoes, N. Y. 


Song Writers — If you have original song lyrics or 
complete MSS. which you believe will interest a repu- 
table publishing house, we will be glad to examine 
same. Will Carroll Co., Inc., Times Bldg., Brooklyn, N. Y. 

Song Poems Wanted. Big Demand. Writers receive 
over $1,000,000 yearly from publishers. Send for Na- 
tional Song, Music and Sales Service Booklet. Brennen, 
Suite 66, 1431 Broadway, New Y T ork. 

"MANUAL OF SONG WRITING, Composing and Pub- 
lishing." A new book indispensable to song writers. 
Price 25c. H. A. 'Bauer, 135 East Thirty-fourth St., 
New Y'ork. 



and increase your business. Most of the advertisers 
you see here have been represented for years, which is 
evidence that we have proven our worth to them. We 
carry more classified advertising than any other Motion 
Picture publication. Give us a trial insertion, and 
convince yourself. Write for particulars. Motion Pic- 
ture Magazine, 17 5 Duffield St., Brooklyn, N. Y. 


See Here! We want your ideas for Photoplays and 

stories! Submit them in any form. We'll criticise 
them Free and sell on commission. Producers pay- 
big prices. Get details now. Manuscript Sales Co., 
95 Main, Poughkeepsie, N. Y. 

WRITE FOR FREE COPY "Hints on Writing and 
Selling Photoplays, Short Stories, Poems." Atlas Pub- 
lishing Co., 295 Atlas Bldg., Cincinnati, O. 

Wanted — Your ideas for Photoplays, Stories, Etc.! We 

will accept them in any form — fully correct — then sell 
on Commission. Big Rewards! Make money. Get free 
details now! Writer's Service, Dept. 2, Auburn, N. Y. 


48 companies; big pay. Details Free to beginners. 
Producers League, 441, St. Louis, Mo. 

Send Me Your Idea for a Photoplay. Submit in any 
form. I will Revise, Typewrite in Correct Photoplay 
Form, and help you sell. Send idea TO-DAY! Prompt 
Service. Write NOW! H. L. Hursh, 123 So. Third St., 
Harrisburg, Pa. 

for free book, "Photoplay Writing," which gives full 
information. Midland Motion Picture Co., Box 469, 
Des Moines, Iowa. 

FREE — Send today for "Model Scenario & Photo- 
play Pointers." Ideas — any form — for photoplays are 
valuable. Write for "Pointers." Paramount Photo- 
plays Co., Box 1402-J-5 Los Angeles, Cal. 

WRITE PHOTOPLAYS in spare time and earn money. 
Try It. Big Prices Paid; Constant Demand; No Cor- 
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Whiteman St., Cincinnati, Ohio. 

SCENARIO WRITERS — Here is your chance. We 
will type with carbon and correct your scenario for 
25c a page. Corrections made by experienced scenario 
writer. R. P. Young-, 501 First National Bank Bldg., 
Cincinnati, O. 

AUTHORS — Your photoplays revised, typed, copy- 
righted, and submitted to all companies. Send ideas 
in any form. No expense unless deal made. National 
Photoplay Sales Co., Box 422, Des Moines, la. 


"How to Write a Photoplay," by C. G. Winkopp, 1342 
Prospect Avenue, Bronx, N. Y. C. Price, 25 cents, 
postpaid. Contains model scenario, "Where to Sell," 
"How to Build Plots," "Where to Get Plots," etc. 

"Scenario Technic," 10c. coin. SHOWS you how to put 

your plot in scenario form. Original 50-scene photo- 
play, writing and selling instructions, list of buyers. 
Doty Co., Bliss Bldg., R. 55, Washington, D. C. 


WANTED — Stories, articles, poems for new magazine. 
We pay on acceptance. Hand-written MSS. acceptable. 
Submit MSS. to Cosmos Magazine, 1285 Stewart Bldg., 
Washington, D. C. 


WANTED — AT ONCE — Biblical scenarios for motion 
pictures. Will pay cash on acceptance within ten days. 
Scenarios must be correct chronologically and his- 
torically. Preference will be given to Old Testament 
scenarios and those depicting the Parables. Address 
The Las Vegas Commercial Club, Las Vegas, N. M. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 


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?5he Student Illustrator 

a practical art magazine publishes lessons and 
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Patronize our advertisers, and watch 
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(Readers in distant towns will do well to preserve 

this list for reference when these speaking 

plays appear in their vicinity.) 

Gaiety. — "Turn to the Right." One of the 
best and most successful comedies of recent 
years. Full of laughs, with here and there a 
thrill and even a sob, but delightfully enter- 
taining from start to finish. 

Morosco. — "The Brat." Maude Fulton wrote 
this charming play and takes the title role 
excellently. She has created a unique and 
interesting character, and Mary Pickford 
and Laurette Taylor had better watch out. 

Playhouse. — "The Man Who Came Back." 
A strong, gripping drama that holds the 
interest from beginning to end; superbly 
acted by Henry Hull and Mary Nash. 

Cort. — "Upstairs and Down." A very clever 
and witty portrayal of life as led by the' idle 
rich. One of the best comedies in New York. 
The whole cast strong. 

48th Street. — "The Thirteenth Chair." A 
weird but gripping drama written around a 
"spiritualist" and her seances. Margaret 
Wycherly scores heavily as the star, and the 
play is one of the best in New York. By 
author of "Within the Law," Bayard Vellier. 

Fulton. — "Pals First." An intensely inter- 
esting comedy that is full of laughs, caused 
mostly by Thomas Wise, who adds to his 
long list of recent hits. William Courtenay 
also stars in a becoming role. This play 
should enjoy a long run — it deserves it. 

Globe. — "Out There." Laurette Taylor's 
best since "Peg o' My Heart," but it is a 
play of characterization rather than of plot 
and story, of which it has practically none. 
A preachment on recruiting and interesting 
to all who like scenes in military hospitals. 

Loew's N. Y. and Loeic's American Roof. — 
Photoplays; first runs. Program changes 
every week. 

Rialto. — Photoplays supreme. Program 
changes every week. 

Strand. — Select first-run photoplays. Pro- 
gram changes every week. 


"Past One at Rooney's'^ (Broadway Star 
Feature). — Shows a deplorable lack of the 
discriminating selective sense. In all of the 
splendid, wide range of vital stories in the 
O. Henry collection, this is, perhaps, the 
most repulsively sordid that, could have been 
chosen for featuring the excellent talent 
of Mildred Manning, who, as the girl of the 
streets, helps the gangster, Cork McManus 
(Gordon Gray}, make his "get-away." 

N. D. G. 

"As Man Made Her" (World). — An attrac- 
tively produced photoplay with a decidedly 
novel story. A young college girl with no 
parents to shield her is wronged by a 
wealthy man. Instead of going down into 
the gutter when he leaves her to her fate, 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



she raises herself and triumphs over him 
by marrying his brother and becoming a 
good wife and mother. It is a relief to see 
the woman win in the game of life for once. 
Edward Langdon is very sympathetic and 
capable as the young husband, while Frank 
Mills does a fine bit of character work as 
the villain. Gail Kane is beauteous as ever. 

C. F. H. 

"The Hawk" (Greater Vitagraph). — Earle 
Williams in the greatest role he has had 
since "The Christian." His interpretation of 
the man who gambles dishonestly in order 
that he may keep his wife's love with luxu- 
rious presents, if anything excels the stage 
portrayal of Mr. William Faversham. The 
director, Paul Scardon, has turned out an 
intense photoplay. There is only one slight 
fault and that is that Ethel Gray Terry did 
not dress gorgeously enough as the wife, 
thereby causing people who had not seen the 
stage play to fail to recognize the Hawk's 
lavish generosity to his wife. Miss Terry, 
however, is superb dramatically, as is also 
Denton Vane as the lover. H. S. N. 

"The Book Agent" (Fox).— George Walsh 
in an obvious imitation of Fairbanks' ath- 
letic eccentricities. Nevertheless, Walsh does 
some mighty clever tricks and furnishes a 
most interesting and fascinating photoplay. 


"The Undying Flame" (Lasky). — A poor 
picture. Set first in ancient Egypt, then in 
modern Egypt, it is produced in such a 
manner as to turn what was meant to be 
drama into laughable burlesque — over-acting 
the big scenes is the simple reason. Olga 
Petrova and Mahlon Hamilton have the 
leads. H. S. N. 

"The Danger Trail" (Selig).— A tale of 
mistaken identity, revenge and love set in 
the Far North. It seems to me that H. B. 
Warner is miscast, the drawing-room tale 
is his strong forte, but histrionically he is 
splendid as always. Violet Heming makes 
a lovable heroine and W. Lawson Butt does 
a fine bit of work. F. E. S. 

"The Man with a Package" (Joker). — The 
"string-beanish" Gale Henry in a mix-up 
meant to be funny. F. E. S. 

"American Methods" (Fox). — A beauti- 
fully staged photoplay concerning the love- 
affairs of an American who is married for 
pique by a haughtily aristocratic French girl 
who in the end is completely subjugated by 
American methods. William Farnum is at 
his best, splendidly groomed, and showing 
an unusual depth of feeling. Jewel Carmen 
is exquisitely beautiful. H. S. N. 

"Satin and Calico" (Vitagraph-Paula 
Blackton Country Life Series). — If a two- 
reel photoplay could be called delicious that 
is how I should describe this delightful 
sketch. Here we have real bits of life and 
at last a realistic tennis game. Paula Black- 
ton, Jewel Hunt, Donald Gray and Donald 
Hall form a dainty quartet of fun-makers. 

F. E. S. 

«8fr ACTING 



Courses forming [20th jeai]. Beginners an.l Advanced 
students accepted. Ageiitsand Managers supplied. [Pro- 
ducing and Booking.] Write for information [mention 
study desired] and Illustrated Catalogue, how thousands 
of celebrated Actors and Actresses [late graduates] suc- 
- ceeded, addressing 

Secretary of Alviene Schools, Suite 3, 57th St. & B'dway, Entrance 225 W. 57th St., N. Y. 



^Photography ^ 

War has doubled demand for men to take Motion Pictures. Light, easy, fascinat- 
ing employment. Travel everywhere. Qualify in few weeks to earn $40 to $150 
weekly. Day or evening classes. Actual practice in up-to-date studios under 
expert instructors. No book study, no schooling required. Easy terms. Special 
offer to those enrolling now. Call or write for free booklet. If interested in Studio 
Portrait Photography, ask for special booklet. 


2208, 141 W. 36th St. 

New York City 

Get Into 
the Movies 

New faces and new types wanted every 
YOU HOW — by new French method. 
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includes an Adjustable Metal Holder which keeps 
Rubber CLEAN, FIRM and KEEN-EDGED; works 
better and lasts longer. 

Two Rubbers, the length of the Holder, are made, 
one for Ink, one for Pencil. By slight pressure, 
clean Rubber is fed down until used. 9 

Price 10^. New Rubbers 5$ each. 

All Stationers. 

By mail 2<i extra. Booklets free. 

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Makers of the famous Washburn, "O. K." Paper 


9ou can fttotd "lUuA-U. fc/Utfui quuMJy 
At Your Home. Write today for our booklet. It tellfl 
how to learn to play Piano, Organ, Violin, Mandolin, 
Guitar, Banjo, etc. Beginners or advanced pupils. 
AMERICAN SCHOOL OF MUSIC, 69 Lakeside Bldg..Chica B o 

When answering advertisements kindly mention 3IOTION PICTURE MAGAZINE. 


Die, Thou Villain! 

He Lad thought of being a great Indian Chief, or a 
soldier— but the biggest idea of all had come to him. He 
would be a Pirate! 

Now his future lay plain before him. His name would fill the 
world and make people shudder. And, at the zenith of his fame, 
how he would suddenly appear at the old village and stalk into 
church, brown and weatherbeaten. in his bjack velvet doublet 
and trunks, his great jackboots, his crimson sash, his belt bristling 
with horse-pistols, his crime-rusted cutlass at his side, his 
slouch hat with waving plumes, his black flag unfurled, witli the 
skull and crossbones on it ! His career was determined. 

Remember the days when you dreamt of being a Pirate? — When 
you thought you would be a black avenger of the Spanish Main? 

Get back the glamour of that splendid joyousness of youth. 
Read once more of Tom Sawyer, the best loved boy in the world; 
of Huck. that precious little rascal; of all the small folks and the 
grown folks that make Mark Twain so dear to the hearts of men 

and women and boys and girls in every civilized 

country on the face of the globe. 


At first it seems a long way from the simple, hu- 
man fun of Huckleberry Finn to the spiritual power 
of Joan of Arc. but look closer, and you will find 
beneath them both the same ideal, the same humanity, 
the same spirituality, that has been such a glorious 
answer to those who accuse this nation of being 
wrapped up in material things. 

There seems to be no end of the things that Mark 
Twain could do well. When he wrote history, it was 
a kind of history unlike any other except in its accu- 
racy. When he wrote books of travel, it was an event. 
lie did many things — stories, novels, travels, history. 
essays, humor — but behind each was the force of the 
exeat, earnest, powerful personality that dominated 
his time, so that even then be was known all over the 
face of the globe. Simple, unassuming, democratic, he 
was welcomed by kings, he was loved by plain people. 

If foreign nations love him. we in this country give 
him first place in our hearts. The home without Mark 
Twain is not an American home. 


Mark Twain wanted these books in the hands of all 
the people. He wanted us to make good-looking, 
substantial books, that every man could afford to own. 
So we made this set, and there has been a tremendous 
sale on it. 

But Mark Twain could not foresee that the price 
of paper, the price of ink, the price of cloth, would 
all go up. 'It is impossible to continue the long 
sale. It should have closed before this. 

Because this is the one hundredth anniversary of 
the founding of Harper & Brothers, we have decided 
to continue this half-price sale while the present 
supply lasts. 

Get your set now while the price is low. Send the 
coupon to-day before the present edition is all gone. 


1817 NEW YORK 1917 

HARPER & BROS., New York. 

Send me, all changes prepaid 

M. P. Mag., 7-17. 

set of Mark Twain's works in 25 volumes, 
Illustrated, bound in handsome green cloth, stamped in gold, gold tops and 
untrimmed edges. If not satisfactory, I will return them at your expense. Other- 
wise •' will send you $1.00 within 5 days and $2.00 a month for 12 months, thus 
getting the benefit of your half-price sale. 



10'« added to price in Canada because of duty. 


"The Millionaire Vagrant" (Triangle-Fine 
Arts). — Here is an absorbing drama worth- 
while in every respect. A rich young idler, 
because of a bet, abandons his wealth for a 
period of five weeks and enters the world 
of poverty. There he runs into every kind 
of misery and finally aids in running to 
earth the crooked district attorney who frees 
vagrant girls from court prosecution only to 
draw them into his own net. Charles Ray 
is lovable, but inclined to be weak-looking. 

H. S. N. 

"His Naughty Thought" (Keystone). — 
Mack Swain and Polly Moran in a typical 
Mack Sennett melange. 

"Freckles" (Lasky). — A picturization of 
the very popular book of the same name. 
It is well directed by Marshall Neilan, whose 
pleasing personality many fans have regret- 
fully missed from the silver sheet. The 
scenario has been very freely changed from 
the book itself, but is none the less enter- 
taining as a tale of youthful love and fidelity. 
Louise Huff is "perfectly darling" as the girl 
and Jack Pickford does well in the name 
part. P. D. K. 

"Souls Triumphant" (Triangle-Fine Arts). 
An excellent story. A rich city roue falls 
deeply in love with a country minister's 
daughter. On the eve of their wedding the 
fast woman whom he had broken off with, 
entices him to a farewell gayety. The girl 
learns of her fiance's defection, but her love 
is strong enough to forgive. A happy mar- 
ried life ensues for three years. Then the 
woman finding herself without resources 
pursues the husband again. On the evening 
that the adventuress arrives in their town, 
the wife is called to her dying father's bed- 
side and is compelled to leave their small 
son in the father's care. Thinking the boy 
is safe, sleeping, the father goes to meet the 
woman. On his return home he finds his 
house burnt to the ground and no trace of 
the sleeping child. He seeks his wife who 
is again enabled to forgive him. Then their 
child comes running in. It seems the wife 
had seen the woman and surmising her 
reason for being there had returned and 
taken the lad with her. There is an excel- 
lent use of suspense. Lillian Gish and Wil- 
fred Lucas prove themselves indeed emo- 
tional artists. Louise Hamilton as the other 
woman gives a very poor impression of her 
ability as a photoplayer. H. S. N. 

"The Law of the North" (Edison).— A 
most interesting and perfectly directed play. 
It excels in its magnificent winter scenery, 
its story and its cast. Shirley Mason, Pat 
O'Malley, Richard Tucker and Sally Crute 
are not only capable in their roles, but most 
attractive. F. E. S. 

"Little Miss Fortune" (Art Dramas). — We 
like these poor-little-abused girl themes, 
because they have the advantage of clean 
plots and sweet heroines. In this one it 
seems to me that coincidence is a little over- 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 




used. Marion Swayne is the little be-curled 
Mary Pickt'ord of the piece. F. E. S. 

"The Highway of Hope" (Lasky). — A 
poorly constructed melodrama by Willard 
Mack who knows better. Kathlyn Williams 
is cast as a Western woman of slovenly 
habits who upon obtaining riches miracu- 
lously turns into a beautiful woman with an 
uncannily sudden knowledge of how to dress 
fashionably and order servants about. House 
Peters performs his thankless part very well 
indeed. R. D. W. 

"The Kleptomaniacs" (Mutual Strand 
Comedies). — A comedy scintillating with 
originality which does not have to fall back 
upon slapstick work to get the laughs. 
Billie Rhodes and Jay Belasco take the part 
of two lovers, kleptomaniacs, and when 
mamma loses her new silver purse — each 
endeavors to shield the other from the deed 
neither did. R. D. W. 

"The Man Who Made Good" (Triangle). — 
A gentle prod for the man who lacks back- 
bone and sticks in a rut. Realistic touches 
and excellent direction blend the whole into 
a first-class entertainment with a moral. 
The principals are Winifred Allen and Jack 
Devereaux. P. D. K. 

"The Call of Her People" (Metro).— Ethel 
Barrymore, always delightfully charming, is 
particularly so as Egypt, queen of the gypsy 
tribe — altho she can hardly be said to sense 
completely the true Romany spirit with the 
fidelity of her fervent lover, Young Faro 
(Robert Whittier), which whom she ex- 
changes the deathless betrothal vows. Mrs. 
Allan Walker as Mother Komello, depicts 
admirably the difficult role of the aged gypsy 
crone. William Mandeville, as Gordon Lind- 
say, was anything but the typical fine old 
Southern gentleman; his unfatherly attitude 
prepared one for the final denouement. 
The director, John W. Noble, did not make 
the most of the superb possibilities of Ed- 
mund Sheldon's romantic play. N. D. G. 

"Casey's Border Raid" (Universal). — This 
is a two-reel of the border, featuring Neal 
Hart and Janet Eastman, altho it's hardly 
fair to say that Janet Eastman was featured, 
for there wasn't one single, good, clear look 
at that little lady's face — not even a close-up 
— which was disappointing, for she looked 
as if she must be very pretty, if one could 
only see her. There are a few gleams of 
humor in this. R. B. C. 

"The Cop and the Anthem" (Vitagraph). 
— A good portrayal of this 0. Henry story by 
the same title. Thos. R. Mills fills the part 
of "Soapy," the tramp, to perfection. An 
inconsistency in the direction of this play, 
in the scene where Soapy washes his sup- 
posedly celluloid collar in the park fountain 
and immediately appears in a clean collar, 
while the one in the fountain is still plainly 
visible to the audience, greatly mars what is 
otherwise an intensely amusing and finished 
Play. G. L. H. 

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Explain, without obligating me, how I can qualify for the posi- 
tion, or in the subject, before which I mark X. 


□ Electric Lighting 
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and No 



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Q Show Card Writer 

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□ Stenographer and Typist 

□ Cert. Public Accountant 


□ Railway Accountant 

□ Commercial Law 


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B Mathematics 

□ Railway Mail Clerk 


□ Auto Repairing I □ Spanish 

□ Narlgatlon I □German 


□ Pou 1 try Raising | □ Italian 


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The Art of the | 
Moving Picture 


Author of "The Congo and Other Poems," etc. II 

jj Mr. Lindsay's book is one of the first to § 

§§ be written in appreciation of the moving | 

H picture. His purpose is to show how to § 

= classify and judge the better films. He de-' §§| 

H scribes' the types of photoplays, discusses g| 

H the likeness of the motion picture to the old | 

H Egyptian picture writing, summarizes the j| 

I§ one hundred main points of difference be- || 

j§ tween the legitimate drama and the film |1 

H drama, indicates that the best censorship 'is | 

H a public sense of beauty and takes up the |j 

HI value of scientific films, news films, educa- g 

H tional and political films. The volume closes M 

1§ with some sociological observations on the g 

HI conquest of the motion picture, which he f| 

H§ regards as a force as revolutionary as was '= 
|§ the invention of printing. 

This book fills a long-felt want. Mr. || 

m Lindsay is the first writer to take up the g 

H great subject and discuss the pictures in | 

U respect to their pictorial, sculptural and g 

H architectural effect. Every person interested g 

H in Motion Pictures should read this book. It g 

§H will give him a new viewpoint, and it is m 

§f extremely interesting. g 

■ Cloth, 289 pages, 12mo, $1.25. By mail, $1.35 jj 


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"A Romance of the Redwoods" (Artcraft). 
— A typical Mary Pickford play with "Little 
Mary" at her best as Jenny Lawrence, the 
leading role. The photography and scenery 
are excellent, the acting strong, and the 
whole play a smooth, finished production. 
Moreover, Miss Pickford in "A Romance of 
the Redwoods" completely refutes those w r ho 
maintain that her popularity is due to her 
sweet personality rather than dramatic skill, 
for as Jenny Lawrence she rises to the 
occasion with unmistakable evidence of ex- 
ceptional ability as an actress. G. L. H. 

"Maternity" ( Brady - World ) . — Shannon 
Fife wrote this play, wmich features Alice 
Brady. Directed with half its skill, it could 
so easily have degenerated into a morbid, 
disgusting "sex drama." As it is, it is a 
beautifully handled story of a girl whose 
maternal ancestors, for three generations, 
have brought their children into the world 
at the cost of their own lives. The girl, 
Ellen Franklin (Alice Brady), is afraid of 
love, of life — of maternity. She falls in love 
with a young doctor, and her gradual loss 
of "the bugaboo of fear" is beautifully told. 
David Powell plays the doctor, Jon Bowers 
the boyhood sweetheart, Marie Chambers 
"the other woman." But to the director, 
John B. O'Brien, and Miss Brady, should go 
more than half the credit for the production. 
Miss Brady's gowns are exquisite, and she 
is, at most times, transcendently beautiful. 

R. B. C. 

"Wild Winship's Widow" (Triangle-Kay- 
Bee). — Dorothy Dalton in a five-reel story of 
the South. A young widow, mourning her 
husband as a receptacle of all the virtues 
existent, discovers that he was anything but 
the idol she had made of him — and she starts 
in to "see life" — which she does by falling 
in love with the man who has loved her for 
eight years, Morley Morgan (Joe King), and 
he, not understanding that a widow's "no" 
most often, as one of the delightful sub- 
titles read, "is polite fiction," adopts cave- 
man tactics to win a wife who was by no 
means unwilling. Alice Taafe, Lillian Hay- 
ward, ana others of the Triangle-Kay-Bee 
Company furnish adequate support. 

R. B. C. 

"Heart and Soul" (Fox).— Another of 
Theda Bara's "good women" parts. This 
story is founded on H. Rider Haggard's 
'Jess," and has been modernized extensively. 
Admirers of Miss Bara will like this play 
immensely, and altho the writer doesn't care 
for Miss Bara in "goody-goody roles," one- 
must admit that she does some very clever 
work. Her riding is especially good. She 
is ably supported by Claire Whitney (in a 
Mary Pickford part), Harry Hilliard, and 
Walter Law — the latter in an incredibly 
wicked role, which he didn't make the least 
bit more convincing by his wide-collared 
"sport" shirt and Windsor tie, in the opening 
reels. R - B - c - 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 




"Sacrifice" (Lasky). — Margaret Illington 
in a dual role forcibly portrays Kipling's 
lines that "The Colonel's lady and Molly 
O'Grady are sisters under the skin." As 
Mary Stephani, the protected daughter of the 
diplomat of Nordoff, she becomes involved in 
the political plots of the border country 
Zandria, where she meets and exchanges 
passports with Vesta Boris, a notorious 
dancer (her half sister). Trick photogra- 
phy, aided by a most distinctive rearrange- 
ment of coiffure from simple girlish style to 
that of the Spanish cabaret singer, enables 
Miss Illington to assume both characters in 
the same picture; a difficult interpretation 
most capably and artistically handled. Jack 
Holt plays the enemy lover, Capt. Paul 
Ekald, with admirable repression. Winter 
Hall artistically registers the" contrite spirit 
of the father, Stephen Stephani. In the part 
of Count Wenzel, one of the important links 
in the plots and counterplots of this gripping 
war drama of intrigue, Noah Beery contrib- 
utes his share in making this finished per- 
formance a photoplay of real interest. 

N. D. G. 

"The Submarine Eye" (Submarine Film 
Corp.). — From the presentation of the 
claims of the Williamson Bros., of a new 
method of undersea photography, the film 
moves rapidly thru a brief prolog in which 
the necessary "treasure" is not deposited in 
the chest* at the bottom of the sea. John 
Fulton (Chester Barnett), a struggling, 
heroic, young inventor, overhears an old 
sailor telling the story of the supposed lost 
treasure chest, and rushes in with his model 
sea-eye device. He meets Dorothy (Barbara 
Tennant), daughter of the millionaire, Cyrus 
Morgan (Charles Slattery), a really com- 
manding figure. The completed invention 
and the Morgan yacht open the way to 
undersea pictures of the "20,000 Leagues 
Under the Sea" type. N. D. G. 

"Sweetheart of the Doomed". (Triangle- 
Kay-Bee). — This five-reel story of the adven- 
tures of a French beauty, as played by 
Louise Glaum, is worthy in every way of a 
place among the month's best releases. 
Louise Glaum is a vampire so seductive that 
it really seems plausible to see a man ruin 
himself for her. It is one of the most 
logical and reasonable vampire plays of a 
long time — altho there may be people who 
will object to the duty to which "Monsieur 
le General" assigned the repentant Magdalen, 
who dons the garb of a peasant in order to 
discover her lover, somewhere in France. 
Louise Glaum is wonderful — Charles Gunn 
an acceptable hero, altho there are moments 
when he does not rise to the dramatic 
possibilities of his part. Roy Laidlaw, 
Barney Sherry and others form an accep- 
table support. The sets are very attractive, 
and the exteriors, especially of the chateau, 
are splendid. A most enjoyable offering. 

R. B. C. 


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46-H Wilcox Block 
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Please send me a copy of "Power of Will" on approval. I agree to remit 
$3.00 or remail the book'in 5 days. 




"The Hand That Rocks the Cradle" 
(Universal) — A feature in six reels which 
deals with a subject of vital interest to all 
humanity. The story is intensely dramatic, 
yet, in spite of the delicacy of the matter 
involved, there is not a line, scene or situa- 
tion which could possibly offend the most 
fastidious. "The Hand That Rocks the 
Cradle" does not aim to preach a moral or 
carry a lesson further than to point out that 
the future of the human race rests in the 
arms of the mothers of America, and that 
the greatest problem humanity can face in 
the future deals with the question of mother- 
hood. L. M. 

"The Marcellini Millions" (Morosco). — 
Another excellent play in which George 
Beban shows his genius for doing lowly 
Italian characters true to life, with perhaps 
a little more exaggeration in this than usual. 
Helen Jerome Eddy shares the honors with 
the star, ably assisted by Eugene Pallette 
and a good cast. J. 

"The Girl at Home" (Lasky). — Rather a 
hackneyed story, but capably done, by Jack 
Pickford, Vivian Martin, Olga Grey, James 
Neill and others. There is nothing remark- 
able about the play, and while it is well 
done and holds the interest it hardly classes 
with the best pictures of the month. J. 

"Poppy" (Selznick). — Norma Talmadge 
never did better work than she does in this 
excellent play. She starts as a poor, igno- 
rant child with a cruel aunt, and grows to 
womanhood and becomes a celebrated author. 
She has abundant opportunity to express 
varied emotions under a series of unusually 
trying circumstances, and never once does 
she fail to take full advantage of the situa- 
tion with consummate skill. No expense or 
trouble was spared to add "atmosphere" to 
the numerous scenes in Africa and else- 
where, some of the settings being unusually 
picturesque, and the directing is carefully 
handled thruout. Eugene O'Brien plays 
opposite Miss Talmadge and makes a pic- 
turesque hero. This play must be counted 
among the best of the month. J. 

"Redemption" (Julius Steger). — A strong 
play of artistic excellence, simply and well 
portrayed. Alice Loring (Evelyn Nesbit) 
is a happy wife and mother until she is seen 
and recognized by a man who knew her 
when she was a notorious vaudeville dancer. 
Thru him, her husband (who knows her 
past, but remains loyal) loses his position 
and finally his life. Mrs. Loring puts up a 
brave fight for his livelihood and that of her 
child, but is forced to leave several positions. 
But her courage, her unconquerable woman- 
liness and her deathless mother-love finally 
win over the forces that try so hard to drag 
her down. She wins out — making an 
honored place in the world for herself and 
her boy. "Redemption" is an illustration of 
the fact that those upon whom we look with 
averted eyes may be more sinned against 
ihan sinning. L. M. 

When answering: advertisements kindly mention MOTION PICTURE MAGAZINE. 



"The Lincoln Cycle" (Charter Features 
Corporation). — A vastly entertaining photo- 
drama aside from its patriotic or historical 
interest — rich in humor, with a very human, 
swift-moving plot showing intimately the 
background of the great President's life.. 
These pictures are made up of four: features: 
"My Mother" shows the spiritual influence 
of Nancy Hanks in moulding the moral and 
mental nature of mischievous, pugnacious 
little Abe — an influence that went with him 
thru life. With her death began the harsher 
influence of "My Father." There was never 
a very clear understanding between the 
father and son, but the father taught Abe 
to fight — that at times half-way measures 
must be thrown aside, and that to strike 
hard was a sacred duty. "Myself" gives 
glimpses of the simple, sturdy Lincoln prin- 
ciples of life at the White House, of "The 
Call to Arms," tense with scenes of action and 
emotion, and at the same time shows the 
President's home life and love for his little 
sons. Mr. Chapin's characterization is so 
vital it seems the living Lincoln moves be- 
fore the eyes. "The Lincoln Cycle" is a 
picture for boys and girls as well as their 
parents to see and enjoy. L. M. 

"The Jaguar's Claw" (Lasky). — A bandit 
story of Northern Mexico in which "El 
Jaguar," the bandit, in the person of Sessue 
Hayakawa, steals the sister and wife of the 
American manager of the oil-fields and then 
gives him his choice of the one to be re- 
turned. The plot is highly melodramatic as 
well as hackneyed, and the play is poorly 
directed and poorly acted. Fine photography 
and wonderful scenery somewhat help out 
an otherwise very mediocre play. Not at all 
in the class of the usual Lasky production. 

G. L. H. 



The Coast photoplay colony is just as full 
of rumors as ever. Very few there are who 
are not mentioned in them. 

The whole Fox studio on the north side of 
their Western Avenue plant is being used 
for one of the big sets in Theda Bara's 
"Cleopatra" picture. It is by far the largest 
set erected by the Fox Company. 

Jay Morley, the good-looking juvenile, is 
now playing opposite Betty Brice at the Izzy 
Bernstein studio on Boyle Heights. 

Henry Otto has just started production on 
another big sea spectacle on the order of his 
famous "Undine." He has taken a bunch of 
beauties to the Santa Barbara Islands for 
some scenes, Frances Burnham is being 
starred in the picture. 

Margarita Fischer, the pretty Mutual star, 
was the guest of the Northwestern exhibi- 
tors at their big ball in Portland, Oregon. 
She led the grand march with the mayor, 
and was quite the belle of the occasion. 

Alita Maria Stadelman 

2024 Wallace St., Phila., Pa. 

Your sister married— write me immedi- 
ately and everything will be well. You 
know 1 love you dearly and will help 
you in every way possible. Will send 
ycu money and anything else you want. 
Do let me hear from you at once. 




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I To Our Readers j 

The Motion Picture Magazine m 

| is absolutely certain that its adver- H 

| tisers are well-known and reliable, m 

m However, should there be any mis- j| 

H representation whatever, either the m 

H advertiser or ourselves will refund If 

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( M. P. Publishing Company 

175 Duffield Street, Brooklyn, N. Y. 



Rider Agents Wan fed 

in each town to ride and show a new 1917 model 
"RANGER" bicycle. Write for our liberal terms. 
DELIVERED FREE on approval and 30 days' trial. 

Send for big free catalog and particulars of most 
marvelous offer ever made on a bicycle. You will be 
astonished at our low prices and remarkable terms. 

FACTORY CLEARING SALE— a limited number of 

old models of various makes. $7 to $12. A few good 

— second-hand wheels $3 to $8. Write if you want a bargain. 

res, lamps, wheels, sundries and repair parts for alF makes 

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$|oo a week 

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and let's see what you can do with it. Cartoonists 
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Bpecial offer. 

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This coupon entitles the holder to a reduction of .50 cents per reel on each 
photoplay sent in to us for criticism, the regular fee being $1.00 per reel ; 
and en synopses up to 3,000 words, the regular fee being $1.50. Coupons 
not accepted on revision or typing orders. 



Henry King is now working on his third 
feature at the American studios and will 
have Gail Kane as his star again. King and 
Miss Kane seem to work very well together. 

Bill Hart has arrived hack West again 
after a successful tour, looking none the 
worse for wear. 

It has heen decided that "Victor Schertz- 
inger will continue to direct the features in 
which Charles Ray appears. Ray has done 
some of the best work of his career with 
Schertzinger, so the two will jog along to- 
gether, making his Triangle features. They 
are working on Clarence B. Kelland's great 
Saturday Evening Post story, "Sudden Jim," 
at the present time. 

Since Chester Conklin's bean crop has 
turned out to be a very successful one, his 
car now boasts of a brand-new coat of paint 
and a new non-skid tire with chains. 

Al Ray seems to have forsaken playing 
juvenile roles. Saw him at work in David 
Kirkland's latest Lehrman-Fox comedy last 
week, playing a sloppy-looking character 
janitor, who gets all his tenants into trouble. 
It's a funny-looking make-up, too. 

The Coast studios will certainly lose quite 
a few players when the forces are ordered 
out. Many of them belong to the coast 
artillery and will be mustered into the serv- 
ice on July 15th. Ernie Shields is a sergeant 
in the coast artillery. 

Ora Carew and her director, Walter 
Wright, have severed their connection with 
the Keystone Film Company. They secured 
therr release from their contracts and are 
working out a new venture which has not 
been brought to light as yet. 

Several other Keystoners have also left the 
Mack Sennett plant. Alice Davenport, who 
played in the first Keystone Comedy ever 
made, has left that concern, as have Ed 
Kennedy and Nick Coogley, both old-timers 
with this outfit. 

Bessie Barriscale and Jack Warren Kerri- 
gan have both started work in their respec- 
tive companies to produce features for the 
Paralta at the Clune studio. James Young 
is directing the Bessie Barriscale company, 
while Oscar Apfel is looking after the Kerri- 
gan brigade. 

Paul Powell is directing George Walsh at 
the Fox studios now. Powell produced 
several of the Douglas Fairbanks features 
for the Fine Arts, so should fit in well with 
the athletic Fox star. 

A whole week passed, and no letter from 
Benny Zeidman about the one and only 
"Doug" Fairbanks. What's the matter, 
Benny — no typewriter ribbon? 

Henry "Pathe" Lehrman is kept busy 
day and night supervising the productions 
of his three companies making Sunshine 
comedies for the Fox program, He is sur- 
rounding himself with a great bunch of 
talent and is turning out some remarkable 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



Herbert Rawlinson seems to be getting 
younger-looking every day. A friend asked 
him at the Los Angeles Athletic Club how 
he did it, and Herb replied, "By getting to 
bed early, swimming, and doing some physi- 
cal culture exercises that I worked out my- 
self." This is probably the reason a number 
of Rawlinson's friends are always watching 
him when he goes thru his exercises in the 
club gym. 

Jay Belasco has left the Christie studios 
and joined the Marine Film Company, which 
is the name of the concern for which Henry 
Otto is producing his latest sea feature. Jay 
will support Francis Burnham. 

Anna Little has returned to Los Angeles 
after a lengthy visit in New York, where she 
played opposite Robert Warwick in a Selz- 
nick feature. Anna has returned to appear 
in support of Harold Lockwood at the Metro 
studios. Welcome back, Anna! 

Dorothy Holmes MacGowan, the adopted 
daughter of Helen Holmes, has a new tooth. 

Juliette Daye has arrived at the American 
Film Company's Santa Barbara studios, 
where she will make features for the Mutual 

Speaking of the American, Bill Russell 
and Charlotte Burton have performed the 
difficult feat of making one and one one. 
The minister made this addition possible. 

Nothing new to talk about except Charlie 
Ray's new coat, so we'll close up until next 


We have already received thousands 
of letters in answer to our prize question, 
"What do you think of the Motion Pic- 
ture Magazine?" They are now being 
sorted and classified, and the prizes will 
be announced as soon as the work is com- 
pleted. Several valuable suggestions 
have been received, but some, we regret 
to say, cannot be complied with. For ex- 
ample, several have asked for a depart- 
ment "Love Letters to Screen Idols." 
We do not believe in publishing private 
letters received by the players from their 
admirers, and we do not think that the 
players should make such letters public. 

Bessie had just received a bright, new 
dime and was starting out to invest it at the 
nearest movie theater. "Why dont you give 
your money to the missionaries?" asked the 
minister, who was calling at the house. 

"I thought about that," said Bessie, "but 
I think I will go to the movies and let the 
girl who sells the tickets give the money to 
the missionaries." 

A VIA TTON practical 

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portunity to etep info fame and fortune. 
Write today for complete literature, all FREE. 
Special offer open to you now. Write 

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*-' some 7x11 

your room or den with these hand 
t portrait pictures of movie favorites 
each mounted in a heavy folder. 

Make Your Selection from the Following : 
Alice Joyce Anita Stewart 

Obja Petrova Norma Talmadge 

Mary Pickford Pearl White 

William Farnum Clara Kimball Young 

Douglas Fairbanks Theda Bara (2 poses I 
Marguerite Clark Francis X. Bushman 

and many others 
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A "Cheat" on the Face of It 

Fannie Ward— "The Little Cheat "—Wins Our Readers 
and the August Classic Cover. Bessie Barriscale at 
Home, in a Painting without Lettering, on the Back Cover 

iiiiiiiii i ninn. iiiiii 


Anita Stewart 
Bessie Barriscale 
Howard Hickman 
The Sidney Drews 
Margarita Fischer 
Pauline Frederick 

j : > 1 1 ■ i r i ■ i f ■ i j 1 1 1 Mtimiiiiiiil 


Douglas Fairbanks 

Grace Cunard 

The Triangle Players 

Shirley Mason 

Tittle Mary Sunshine' 

Hundreds of Others 

Twenty years ago Fannie Ward was the com- 
edy Princess of the two Continents — the craze 
with English "Johnnies" and American "Char- 
lie Boys." She married and retired. Then sud- 
denly she performed a miracle— went into pic- 
tures and made an instantaneous hit in the 
highly emotional "The Cheat." Actors and 
managers said it couldn't be done, but "The 
Little Cheat" came back with a vengeance. 


reproduces a stunning painting of Fannie Ward, 
by Leo .Sielke, Jr., on its cover, and contains a 
profusely illustrated biography — the strange 
career of the Perennial Fannie. 

The Beautiful Bessie Barriscale at Home 
Painting is a charming home-study of the "Lit- 
tle Colleen," is suitable for framing and well 
worth the price of the entire Classic. 

"Here Comes the Bride!" Every gossip now 
knows that Grace Cunard was recently the star 
performer in a most romantic marriage — that 
she is now Mrs. Joseph Moore. The inside story 
of how she came to be led to the altar is as 
interesting as a thrilling feature picture. H. H. 
Van Loan discloses the facts in a charming 
news-story surcharged with the Los Angeles 
studio atmosphere. 

"The Screen Kiss" — Edwin M. LaRoche, the 
veteran actor, author and playwright, is at his 
best in this highly amusing and instructive fea- 
ture article on just what the Screen Kiss means 
and how it is expressed. Illustrated with fifteen 
kissing pictures — some especially posed. 

King-s and Queens Contest — which made its 
bow with the Bigger and Better June Classic, 
was a hit from the start. A new and taking 
idea in Players' Contests. The votes for the 
screen's most beautiful, most charming and 

most finished player — both actor and actress — 
are pouring in with every mail. Each voter 
shares equally in the prizes. The August Classic 
will tell you lots of news about the Kings and 
Queens Contest and will give a tabulated list 
of the player's standing up to date. 

The Classic Extra Girl Plays with Theda Bara 
— Miss Ethel Rosemon, our extra girl, has just 
finished playing in a picture with the one and 
only Theda. Her story holds the same absorb- 
ing and human interest as her tale of Vitagraph 
experiences with Peggy Hyland in the June 
Classic. Miss Rosemon's "Camille" story in 
the Aug-ust Classic tells us all the hazards 
and chances of the extra girl. 

Via Camera, Wire and Telephone — Illustrated 
news of the players told by the lens, 'phone and 
night-letter. A new, newsy and up-to-the* 
minute department. 

All the Regular Departments Are There — A 
superb Rotogravure Gallery of Players, Green- 
room Jottings, the not-to-be-imitated Answer 
Man. And, for good measure, look forward to 
a heart-to-heart Chat with "Polly" Frederick; 
the "Confessions of a Scenario Reader"; "At 
Home with Beatriz Michelena" ; "The Home Life 
of Howard Hickman and Bessie Barriscale"; 
eight beautiful portraits of Anita Stewart; 
"Filmdom's Tiniest Star — 'Little Mary Sun- 
shine,' " with the "cutest-ever" illustrations; 
"Kid Love Affairs," in which Margarita Fischer 
" 'fesses up" her youthful indiscretions; Shirley 
Mason in a new "Daughter of Eve" dance, 
beautifully posed and illustrated; "Roping Doug- 
las Fairbanks Into an Interview," some brand- 
new slants at the famous comedian. But why 
continue? Enough is as good as a feast — and 
the August Classic is the richest feast of Motion 
Picture news, views and stories ever set before 
a hungry reader. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE 

UUL !<-! Mil 

©CIB392253 2 

\U^\ I tN ipr» M3 - ? MOTION PICTUDB 

Vol. XIV August, ^2X 1917 /__ No. 7 


Cover Desigx. Painting of Myrtle Stcdman Leo Sieike, Jr. 

Guide to the Theaters. Stage plays that are worth while "Junius" 6 

Photoplay Reviews. Critical comments on current cinemas . . . "Junius," et al. 6 

Patter from the Pacific. All the latest news from the Coast . . . Dick Melbourne 13 

The Mermaids. Verses and drawings Dorothy Hughes 18 

Art Gallery of Popular Players. Printed by the Rotogravure Process .... 19-26 
School at the Motion Picture Studio. Showing that the education of the little ones is not 

neglected • Kenneth McGaffey 27 

Dame Fashion's Horoscope. Film favorites as seen by their favorite pastimes, Dorothy Gregory 32 
A Song-bird of the Films. A chat with Myrtle Stedman . . . J. Gordon Bastcdo 39. 
When the Drews Went South. A humorous incident that actually happened . Pearl Gaddis 44 
THE STOLEN PARADISE. A wonderfully gripping story of a girl who usurped the place' of sweet- 
heart to her blind lover Gladys Hall 49 

The Why of the Tankless Film. An aerial trip over the French border in war-time, Hi Sibley 59 

Good-by to Winter in the Great Northwest. Featuring Violet Heming and H. B. Warner 64 

Charlotte Caustioue, the Charlatan. A satire F. P. Pitzer 66 

Mary Pickford, Manager .... ...... Robert F. Moore 69 

Side-tracking the Couturiere. The delayed arrival of Mildred Manning's gowns makes inter- 
viewing hazardous . . . Marjory Lamb 72 

Our Players at the Front. Humorous drawings Gus Meins 76 

HOW I GOT IN. A new department in which leading players tell of their beginnings in pictures 

and how they got their first start . . . Alice Joyce, Earle Foxe, Marguerite Clark 77 

The Photodrama. A department for writers for the screen . . Henry Albert Phillips 81 

He Never Knew. A tribute to the Lincoln of Sam D. Drane . . Martha Groves Mcltelvie 84 
Mae 'n' Ann. In which is related the really-truly fairy story of two good little girls in the 

movies— Mae Murray and Ann Pennington Carol Lee 87 

"EXTRA LADIES AND GENTLEMEN." In which a well-known author and player tells of his experi- 
ences in the pictures ......... H. Sheridan-Bickers 91 

"Lady Marguerite" Snow. A chat Roberta Courtlandt 97 

A Game of "Taking Chances." Describing how a horse and a player took a forty-five foot 

dive Albert Marple 101 

Picture-Making in the Tall Uncut Frank W. S alley 105 

Limericks. Monthly prize contest for our readers Ill 

Wild and Woolly. Humorous story of Douglas Fairbanks' latest release . Dorothy Donnell 113 

The Movie Gossip-Shop. Pictured news sauced with tittle-tattle from Screenland . . . 123 

Frozen Echoes. A number of delicious recipes Lillian Blackstone 126 

Creenroom Jottings. Little whisperings from everywhere in playerdom ..... 128 

THE ANSWER MAN. An encyclopedia of wit, wisdom and facts . . The Answer Man 131 

Letters to the Editor 158 


(Trade-mark Registered.) 

Entered at the Brooklyn, N. Y., Post Office as second-class matter. 

Eugene V. Brewster, Managing Editor; Edwin M. LaRoche, Dorothy Donnell, Gladys Hall, E. M. Heinemann, 
Robert J. Shores, Associate Editors; Guy L. Harrington, Sales Manager; Frank Griswold Barry, Advertising Manager; 
Archer A. King, Western Advertising Representative at Chicago; Metz B. Hayes, Representative at Boston. 

Copyright, 1917, in United States and Great Britain, by The M. P. Publishing Co., a New York Corporation 

with its principal office at Bayshore, N. Y. 

J. Stuart Blackton, President; E. V. Brewster, Sec.-Treas., publishers of Motion Picture j classic" 6 

Subscription, $1.50 a year in advance, including postage in the U. S., Cuba, Mexico and Philippines; in Canada. 
$1.80; in foreign countries, $2.50. Single copies, 15 cents, postage prepaid. One-cent stamps accepted. Subscribers 
must notify us at once of any change of address, giving both old and new address. 


175 Duffield Street, Brooklyn, N. Y. 

Member Audit Bureau of Circulation 

By the sea, beneath the sky, 
Wand'ring on the golden beaches, 

Little mermaidens I spy — 

Pretty, dripping, sunkist peaches. 

By the sea, where the sunlight played, 
A real mermaiden, slimly fair, 

Frolics with a reel mermaid 
With scaly fins and flowing hair. 

By the sea I sit and gaze, 

And dream of the golden days gone by 
When fairy mermaids spent their days 

Sporting beneath the azure sky. 


Kathlyn Williams, Morosco star, has reached the zenith of her stellar career — long may it 

hold! Long with Selig, the number, difficulty and variety of her roles were three of the seven 

wonders of the picture-stage. Her hazardous work with wild animals earned her the title of 


Wheeler Oakmaa light well earned his Thespian reputation with the Selig and Fox Companies. 
Six months ago Mabel Normand captured him for her leading man and now his friends are de- 
manding his "release." "Micky" is the title of the long-expected feature. 

Marguerite Snow, otherwise known as "Peggy", is one of the many protegees of Edwin 
Thanhouser, who has climbed to the top rung of the "star ladder." Her latest course is north- 
ward to shine in and over the Canadian Features Company, Toronto. 

- - - - •» I .- - -J T - 4 

Earle Williams, who is distinguished by being one of the few original screen stars still holding 
his place in popular favor, will hereafter appear more often to his audiences in monthly photo 

Cleo Madison has been on the film firing-line so long that she is camera-proof. Long a 
Universal star and favorite, she played her longest suite in "The Trey o' Hearts." Recently she 
has formed her own company. 



Nell Shipman says that she isn't an actress at all — at least the studio screen is only one of her 
many pursuits. Short-story writer, lecturer, photo-playwright and just actress (a star, at that) 
are the four roads that have led her to fame. 


Charles Ray, who rose to stellar honors in less than two years, has pledged himself to the 
Triangle "overheads" for two years more. 


Miriam Cooper, whose portrayal of "The Friendless One" in "The Honor System" made first" 
nighters sit up and take notice, is a graduate of "Kalem Film Seminary." She hails fron 
Baltimore, is still in her teens, and has already put her future behind her. 





School at the 
Motion Picture Studio 


Please, teacher, if I get 
my lesson quick, will 

you ask the director 


:% to give me a close-up?" 

"I've got to go now, teacher, I'm 
Jt in the next scene." 

"Now, Billy, if you dont behave I'll 
make you go and sit with the extra 
! children." 

I The above are fragments of conver- 
sation that came floating from one of 
the unusual schools of the country — the 
studio school for Motion Picture chil- 

The laws of the Board of Education 
of Los Angeles require that every child 
shall receive so many hours of schooling 
a day. This applies to all children of 
the school age, without exception. 

The little actors and actresses of the 
film colony must have their hours for 
education, too, and whether they are busy 
working or not, a certain time must be 
devoted to study. At the majority of the 
studios these schools are merely tempor- 
ary and employed only on the days that 
the children are used in the scenes, but 
at the Lasky studio, where several chil- 
dren are employed, they have school 
every day in the week. 

Little Billy Jacobs, the clever child- 
actor who has appeared with Fannie 
Ward, Marie Doro and a number of other 
prominent stars, is a permanent scholar, 
and Peggy George, Marjorie Daw and 
others are compelled to report on the 
days they are not in their regular schools. 

Each dav the children have a new 




schoolhouse — unoccupied sets being used 
for this purpose. One day school will 
be held in the library of a Parisian villa ; 
the next day it may be in a room in a 
New York tenement-house ; the next day 
it may be held in a Mexican hut, or in a 
miner's log-cabin. Again, it may be held 
where they are working in the children's 
nursery, or a village street. 

Recently, for two days school was held 
in a fairy forest, and the children would 
run from their lessons to fly thru the 
air as little elves. 

The Board of Edu- 
cation provides a 
teacher, and her sal- 
ary is paid by the 
L a s k y Compaii y. 
When the children are 

with their crutches under their arms and 
their bandages carefully put aside to keep 
clean, may be seen studying with the 
children from the workhouse of Oliver 

The teacher has to be a versatile one, 
too, and familiar with the Motion Pic- 
ture favorites, for many are the weird 
questions the childish mind is prompted 
to ask. No one connected with the pic- 
tures can use a technical expression with 
which the children are not familiar with- 
out the teacher being asked to give an 
explanation. She also has to be familiar 
with the private life of all the 
stars and every one, in fact, 


thru with a scene they are obliged to 
report to the school-teacher and stay in 
the schoolroom and study until they are 
wanted again. It is no unusual sight to 
see the line of a spelling-class suddenly 
break up and the children flee from the 
schoolroom to answer the call, "Every- 
body on Mr. DeMille's set." 

And unusual, too, are the pupils. A 
little fairy elf may be seen studying out 
of the same book with a ragged Mexi- 
can urchin; in private life they may be 
brother and sister. Pages to the king 
may be seen sitting on the same bench 
with a New York newsboy. Some crip- 
pled children from the hospital scenes, 

answer the children's 
questions. It is carefully 
instilled into their minds that an educa- 
tion is necessary in order to be successful 
Motion Picture actors and actresses, and 
as they all aspire to stardom, this gives 
them a deeper interest and enjoyment in 
the school. 

As little Billy Jacobs put it, "I know a 
lot already, but I've got to know a lot 
more before I can be a star." 

At first the Lasky Company provided 
the children with an equipped school- 
room. It was a quiet little building 
away from the rest of the studio, but 
the room was not convenient to the 



stages, and it was found that the teacher 
could work to far better advantage by 
holding school in the unused sets. If 
the set represented the interior of a home 
in a foreign country, the teacher would 
require the older pupils to furnish her 
information on the history of that coun- 
try, while she would tell the younger 
pupils stories of the country. 

If they were studying for that day in 
the hut of an Italian charcoal-burner, the 
teacher would require the older ones to 
tell her something of the history of Italy 
and so 
forth, and 
to the 
ones she 
w o u 1 d 
some / 

up on the history of 
It is an education 
for an older person 
around the studio an 
these many different 
scenes of as many 
different coun- 
tries, so the 
impression it 
would make 
on a child's 
m i n d w h e n 
being temporar- 
ily trans- 
ported t o 
that coun- 
try would 
be most 

that period, 
in itself 
to walk / 
d see 

r Italian story and connect 
the hut in which they lived 
with the children of that 

During the taking of the scenes 
* of Fannie Ward's starring vehicle, 
"The Winning of Sally Temple," the chil- 
dren were employed in the streets of 
London during the reign of King 
George, and were all required to brush 


helpful. When "Oliver 
Twist'' was being filmed the 
teacher required the pupils to 
visit a number of the foreign sets, de- 
scribe each, and then give a little incident 
in connection with the history of the 
country. This, of course, does not apply 
to little Billy Jacobs, who is still delving 
into the mysteries of the First Reader, 
but to the pupils of the higher grades. 

From Spot-light to Camera-lens 

Olive Thomas has forsaken the "Follies" footlights to illuminate the Ince -Triangle pictures with her dazzling 

versatility. As a bit of patriotic work she may do coast patrol duty, and no doubt will 

make a "hit" if a U-boat is ever struck by the kick at the end of either 

the off or near leg of her fleet-footed mount. 

A Group of Breathing Marble 

Photo by Hartsook 

- .-„,,,,, 



The good old-time music of 
the coach-horn has been 
lost along Fifth Avenue in 
the strident honk of the Clax- 
son, but we still have the old 
by-ways and by-paths that lead 
us thru haunts of woodland, 
hill, lake and stream when the 
springtime calls. 

Then, when every big and 
every little scintillating star in 
the deep blue dome overhead 
beckons, every big and every 
little movie star feels the call of 
the great big out-of-doors. Go some- 
where they must ! But where ? Why, 
everywhere, of course. 

"What am I going to do this sum- 
mer?" (This from Dorothy Dalton, cen- 
tral figure in group of riders.) "Our 
work is mostly play when we are re- 
hearsing scenes like this from 'Wild 


Winship's Widow.' What do you 
think of my 'jockey' riding-habit? — it 
was designed for comfort." 

After carefully studying the graceful 
lines of the unique sleeveless coat, I re- 
plied : "I think, altogether, it's the most 
jaunty, clever cut I ever saw — a design 
worthy of the genius of Lucile ; in a 
word, it has style." 

Max Linder, recently seen in 
"Max in a Taxi," is an enthusias- 
tic horseman and handles his mount as 
easily as he did his airplane somewhere in 
France, when, as he called it, he "biffed 
the Bodies." The first three pictures made 
by Monsieur Linder in America — "Max 
Comes Across," "Max Wants a Divorce" 
and "Max in a Taxi" — have enjoyed wide 
popularity. Owing, however, to compli- 
cations which developed from a wound 
suffered by Mr. Linder in the war, he will 
abandon, for the time being, the rigorous 
program to which he subjected himself. 


Members of the coaching party in the 
wonderfully photographed exterior scenes 
of Triangle's bright comedy, "Wild Win- 
ship's Widow," include Miss Dalton, Joe 
King, and other players in the group are 
Lillian Hayward, Rowland Lee, Alice 

Here, too, is a stunning 1917 style in 
aviation toggery as forecast by a star of 
the movies as she appears in the sky. 

Virginia Pearson has forsaken her 
roadster and taken to- soaring with the 
eagle. Cant you fairly hear the scream 
of this latest flighty costume? Miss 
Pearson is a member of the famous Ken- 
tucky family — the Galloways ; her mother 
was a descendant of the distinguished line 
of men who opened the trail of civiliza- 
tion' to the Middle and Far West. Many 
historical spots bear the name of Gallo- 
way, commemorating the memory of the 
venturesome pioneers. Miss Pearson in- 
herits that spirit, and as a sky-pilot she 

will have many brave follow- 
ers if called upon to do her 
bit of aerial war scouting. 

She played under Yita- 
graph management in 1910; returned to 
the stage, but came back to the screen. 
Since joining the Fox Film Company she 
has been kept busy rehearsing in Cali- 
fornia, Florida, and Fort Lee, N. J. 
Latest releases featuring her are "Sister 
Against Sister" and "A Royal Romance." 

Virginia Pearson is one of America's 
beauties, either on or off the stage. She 
won her spurs in the spoken drama, and 
brines to the silent the same charm. 




Kathlvn Williams, Morosco - Pallas - 
Paramount comet (she has starred in 
a dizzy whirl of orbits) knows as much 
and more about a horse than some people 
pretend to know, and that's saying a 
whole lot. I may not be a judge of 
horse-flesh, but I believe I know the right 
sort of toggery when I see it. Her 
artistically cut habit of fine black-and- 
white-stripe cheviot, with vest in white 
and maroon stripe ; white gloves and tri- 
cornered hat of black straw, with band 
of maroon, edged in white, strikes a note 
of pleasing individuality. 

Miss Williams has recently played 
opposite Theodore Roberts in "The Cost 
of Hatred" (Lasky) ; supported House 
Peters in "The Highway of Hope" 
(Morosco), and co-starred with 
Wallace Reid in 
"Big Timber." 

She likes 
being a photo- 
player be- 
cause she 
likes doing 
the difficult, unex 
pected things. 
Her latest am- 
bition is to be 
the first success- 
ful hydro-aero- 
planiste in the 
world. Any one 
who has looked 
into that fair 
1 e s s 
that she 

may be accorded this unique distinction. 
If her eagle eye sights an undersea 
U-vulture, her steady hand and a well- 


aimed shell will do the rest, and add new 
laurel-leaves to this adventuresome lady's 
crown of glory. 



An effective contrast to Miss Williams 
habit is that of Marin Sais, who ap- 
pears in this correct cross-saddle habit. 
Doesn't she present a charming r 

picture? She is an enthu- 
siastic horsewoman, and 
can point with pardon- 
able pride to the 
m a n y b 1 u e - 
blooded, b 1 u e- 
ribbon winners 
among the val- 
uable horses of 
various types and 
ages roaming the 
acres of an 
o n her 
in Utah. 


the crowd of dreadful villains. She is an 
accomplished equestrienne, and spends a 
great deal of her time riding 'cross 
country on Blue Devil. She has 
been a lover of horses from child- 
hood, and organized a women's 
team of polo-players, composed of 
screen stars, to play a match game 
of ''mounted croquet" with the 
famous Burlingame i#asculine aggre- 
gation at Coronado for the benefit of 
the Actors' Fund of America ; one of 
the first volunteers to present her name 
to Miss Sais was Helen Gibson, whose 
daring riding is a feature of the "Hazards 
of Helen." 

Versatile Marin often quotes poetry, 
Kipling, Khayyam and Meredith, but her 
favorite lines are the oft-repeated philo- 
sophical lines of Walt Whitman : "I think 
I could turn and live with animals, they 
are so placid and self-contained ; I stand 
and look at them long and long ; they do 
not sweat and whine about their condi- 
tion; they do not lie awake in the dark 
and weep for their sins ; they do not make 
me sick discussing their duty to God ; 
not one is dissatisfied ; not one is 
demented with the mania of 
owning things ; not 
one kneels to 


Devil, played 
an important role 
in a thrilling 
scene in "The 
Girl from 

'Frisco," in which Miss Sais, as the hero- 
ine, arrives on horseback at the critical 
moment to save the persecuted girl from 

nor to his kind that lived 

thousands of years ago.'' 

Miss Sais recently featured 

The Fate of Juan Garcia," 

an episode of "The American 

Girl" (Kalem). 

"Screen work," she says, 
"gives a player an op- 
portunity to live at 
home and for study ; be- 
sides, seeing oneself in Moving Pictures 
is the most helpful criticism an actor can 



For a woman, the saddle, above all 
places, is the one in which absolutely 
correct attire is essential to an effective 
appearance, and here attention to detail 
assumes its highest 
Olive Thomas, 
a famous 
now star- 
ring in the 
I n c e 

wears the 
derby. I t 
appears to 
be both com- 
fortable and 
becoming. A 
smartly tailored 
black broad- 
cloth habit 
black silk 
f o u r - i n 
hand tie ; 



shirt-waist; with 
natty bordered 
mouchoir tucked in the 
upper left coat-pocket, and 
a gardenia boutonniere, 
complete a very neat outfit. 
Miss Thomas is twenty years 
of age, a brunette of the viva- 
cious type, with gray eyes and 
golden-brown hair ; unaffected, 
wholesome, fun-loving. 


Miss Beverly Bayne observes the ulti- 
mate formality of dress for the hunting- 
field. The silk hat is the distinguishing 
feature of the attire for this occasion, 
and the combination soft white stock and 
ascot gives the finishing touch. 

Miss Bayne first appeared in Motion 
Pictures at the age of seventeen ; during 
the past six years she has starred in "The 
Crimson Wing," "Graustark" and other 
popular Essanay productions. Later she 
joined Metro with Francis X. Bushman, 
plaving opposite him in "Romeo and 
Juliet" and "Man and His Soul." 




Holmes and 

her pa 

"R o c ket," 

the horse she 

rode in the 


leap i n 


May Allison, who has recently joined 
the American Company's forces, smiles 
bewitchingly from beneath the broad 
brim of her black straw sailor. A white 
pique vest edging and soft white linen 
four-in-hand stock makes her picture 
altogether a charming study in black and 

May Allison was born in Geor- 
\ gia, and, like all true South- 
erners, she is fond of riding a 
fine, high-spirited, intelligent 
horse. She is a talented mu- 
sician and a dainty dancer. 
Her light golden hair, vio- 
let eyes, sweet, sunny 
smile and dimples reg- 
ister on the screen 
as an absolutely 
ideal picture 

Girl and the Game" (Mutual). Miss 
Holmes is a noted equestrienne and is 
appropriately garbed in summer raiment. 
White linen habit; straw sailor, banded 
with dark red grosgrain ; single- 
breasted vest of dark cardinal red 
madras ; soft black silk bow-tie ? soft 
turn-over ''choker" collar; heavy, 
hand-sewn tan-colored gloves. 
"Rocket" has his own distinctive 
brow-band, white patent leather 
barred with red. 

Miss Holmes provides new thrills 
in "The Railroad Raiders" series. 


As leading woman for the 
orke-Metro Company she played 
opposite Harold Lockwood in "Pid- 
gin Island," "The River of Romance," 
"The End of the Road," "The Hidden 
Children" and "The Secret Spring." 
Prior to her entrance into the film world 
she played the name-part in "The Quaker 
Girl" and as "Beauty" in "Everywoman." 
(To be continued.) 

Fritzi Brunette, a Southern girl of Franco-American parentage, will put her Pathfinder into commission 
Red Cross ambulance for first aid to the injured if called upon to do her bit. 
She is co-starring with Sessue Hayakawa (Lasky). 

A Song-bird of the Films 


In London and Paris, Bue- 
nos Aires and Sydney, 
not to mention the forty- 
eight States of the Union, they 
know Myrtle Stedman of the Mor- 
osco Photoplay Company as a film 
actress of real ability. In Chicago per- 
haps they know her also for her rich 
mezzo-soprano, which gained her fame 
thruout the Middle West during her 
prima-donna days with the light-opera 
forces of the music-loving Whitneys. 
In Canon City, Colorado, the men in 
State prison know her as the girl 
with the golden hair and the golden 
voice who was once kind enough to 
come and sing for them, anything 
from the "Lullaby" from Goddard's 
"Jocelyn" to "Tammany" and '"Way 
Down Upon the Suwannee Ribber." 
But in the fashionable Vendome 
Street bungalow colony out in the 
Wilshire district of residential Los 
Angeles, Myrtle Stedman is known for 

Photo by Carpenter 



Yendome is a little wonder-spot of 
trailing vines, artistic pergolas, smart, 
well-kept lawns, and great, deep bunga- 
low porches, delightfully roomv and 
comfortable. It is a place of homes. 
Its life is homelike. Its women prefer 
their homes to the mezzanines of the 
cafes downtown. Too, it makes one's 
heart warm to this young girl, who, 
for all her busy professional career, 
is yet woman enough to find her real 
delight in working at the old-fash- 
ioned arts of the kitchen. 

Any time of the day Miss Stedman's 
telephone is apt to ring. "Yes?" she 
answers in her musical voice, prob- 
ably having left her piano to come to 
the telephone. It turns out to be Airs. 
Standing, over at "206," who would 
like Miss Myrtle to please be so good 
as to give her that recipe for Raisin 
Whip? Or it may be the lady down 
the street at "227," and would" Myrfte 
please tell her how to make the ripe 
olive sandwiches that had the splen- 
did dressing? She 
is expecting cous- 
ins from Santa 
Monica, and she 
wants something 
a little 

Tlioto by Lorillard 

something far b e y o n d 
these things. In a word, 
her fame is wafted to the 
four corners of the earth, 
carried on the four winds 
of heaven, all because of 
her "Butter-scotch Pie." 




extra for tea. Or one of the girls at 
"217" simply must have a little advice 
on a roast of lamb. 

So it goes the whole day long, except 
that these particular days most of the 
requests are for "that Butter-scotch 
Pie." There would be no more sense in 
attempting to describe it than in painting 
the lily. Let it speak for itself, and for 
those with imagination like that of the 
mechanical man who can "see" a thing 
by reading the blue-print, the famous 
Myrtle Stedman recipe is herewith sub- 
mitted : 

Butter-scotch Pic 
1 cup brown sugar, 2 rounding table- 
spoons of butter, 2 rounding tablespoons 
of flour, yolks of 2 eggs, and 1 cup of 
milk. Cream brown sugar, butter and 
flour together. Mix eggs and milk to- 
gether and heat to boiling. Remove from 
fire and pour over the sugar, butter and 
flour. Mix all together and let come to 
a boil until thick. Pour into crust, which 
has been browned; beat whites of eggs 
and spread over top, add- 
ing a little sugar. 

Viewing it dispas- 
sionately, it seems to be 
some considerable fame 


PllOt ( 

to which Miss Myrtle has 

been daintily ascending by 

means of this ladder of crisp, 

well-shortened pie-crust, the 

f ladder itself firmly grounded 




upon the foundation of a hundred other 
delicious recipes. 

Viewing it thru Miss Myrtle's own 
eyes, it seems quite as attractive a fame, 
too. With all the rest of us, she likes to 
have people like her. It pleases her that 
people have said so many complimentary 
things of her work in photoplays. It 
pleases her that the Chicago musical 
critics called her work at the Whitney 
Opera House "a grand-opera success." 
But, despite all this, Miss Myrtle frankly 
confesses her one big, honest, hope-to-die 
achievement, in her own estimation, is 
"having my own little home," and she 
confesses that deep down in her heart she 
is pleased the most when people telephone 
her for her recipe or praise "that Butter- 
scotch Pie." 

Miss Stedman was born in Chicago, 
and educated there. Her father was a 
business man and an old soldier. Her 
mother was a singer of note, and Miss 
Stedman seems to have inherited- her 
voice. She had the advantage of a 
musical education, studied elocution and 
voice-culture. "I am the youngest," she 
was once heard to tell, "the baby of the 
family — spoiled' — but I am glad I was. 
It is nice to be the youngest and be petted 
and fussed over. I had a jolly girl- 
hood, and altho I was a bad scholar gen- 
erally, I was devoted to music, and my 
parents had me specially trained for the 
operatic stage." 

During Miss Stedman's school-days, 
when she was only twelve years old, she 
did a solo dance with the Whitney Opera 
Company in Chicago, Aubrey Bouci- 
cault, Grace Golden, R. E. Graham and 
Hughey Dougherty being with the com- 
pany at that time. Then Myrtle's father 
became interested in mining, and they 
moved to a little mining town in Colo- 
rado. It was called Black Hawk. There 
they built a big log cabin, about eight 
miles from the town, and finished it with 
redwood inside, furnishing it comfort- 
ably, having some real Indian rugs on 
the floor. 

"I have never lived in a place that I 
loved more," she once confessed; "and 
we were in such a wonderful location, 
too, ten thousand feet above sea-level, 
almost at the foot of James' Peak, which 
is higher than Pike's Peak, upon whose 

crest the snow never melts. We were 
right in the heart of the Rockies, with the 
white peaks all around, and range after 
range of hills stretching out until the 
clouds met them. I used to love to climb 
so that I could get a view of Clear Creek 
Canon with its tumbling waters winding 
in and out until they met the plains, and 
I could see the city of Denver in the far 
distance. In winter the snows were al- 
most impassable at times. I learnt to 
walk on snow-shoes there. We still own 
the log cabin and have a caretaker there, 
and some day I mean to go back and don 
divided skirts and ride and climb and 
ski to my heart's content. I kept up my 
singing, and used to practice in the open, 
and I often used to sing to the miners as 
they sat around smoking their pipes after 
the day's work was over. Oh, I could 
talk about the mountains all day long." 

We will pass on to Canon City, in Colo- 
rado, where Miss Stedman went on sev- 
eral occasions to sing to the convicts at 
the penitentiary. You know they have a 
wonderful chief warden at Canon City, 
who puts the men on their honor and 
gets them to work on the roads, and the 
men worship him there. He always wel- 
comed Miss Stedman's visits, and allowed 
her to talk to some of the men. She 
loved to sing to them, and got into the 
way of going up on Sundays, when they 
would choose their hymns. They seemed 
always to want her to sing "The Holy 
City." "What a wonderful audience they 
made, with their upturned, earnest faces !" 
described Miss Stedman when telling of 
these little episodes. "I sang to them as 
I never sang before or since, and when 
they all joined in the hymn, 'Nearer, My 
God, to Thee,' it was the most impressive 
sight I can recall. No one can make me 
believe many of those men are really bad ; 
they have made mistakes, that is all." 

Several of the convicts made presents 
to Myrtle, and one of them gave her 
a beautiful bridle, made of hair and 
mounted with silver. He used to sell 
them for from fifty to a hundred dollars. 

Myrtle Stedman returned to Chicago 
and settled down for a long time to 
serious operatic work, and again joined 
the Whitney Opera Company among 
others, and was on the road for a long 
time as prima donna, and sang in a big 



variety of parts, both in opera, comic- 
opera and musical-comedy, and in be- 
tween-times sang on the concert platform. 
Miss Stedman got terribly tired of the 
traveling, and so decided to go into 
Motion Pictures. 

When Myrtle Stedman comes into the 
room, it is like a breath of air from the 

country, because she is so wholesome and 
frank — her smile is so friendly, and her 
whole-souled laugh rings true. At first 
sight one would take her to be a trimly 
dressed schoolgirl, who has just come in 
from a frolic in the hills. She has big 
blue eyes, the color of which does not 
show in the photograph or on the screen. 


When the Drews Went South 


(Photos by National) 


he scene was the dining-room of the 
Hotel Mason, in Jacksonville, Flor- 
ida. Be it known, then, that the 
Hotel Mason is the Mecca of South- 
bound picture-players. It's the nearest 
approach to the "White Lights of Lil' 
Ole New York," and yet there is an air of 
genial, Southern hospitality that makes 
it delightfully homey. 

The stage having been set, we pass on 
to the principals. He was dressed in 
Southern winter attire — 
which is to say, w h i t c 
trousers, black dinner- 
coat and so on. She was 
stunningly dressed in an 
evening frock of black 
chiffon and lace, over 
black satin, properly 
adorned. And the at- 
mosphere fairly blos- 
somed with peace on 
earth, good will to- 
ward men. 

And then it hap- 
pened ! A tall, good- 
looking y out h, a 
juvenile leading- 
man with a very 
famous stage-star 
making her first 
bow in the movies, 
came up, greeted 
the two as old 
friends, and then 
asked the lady to 
dance. With no 
more ado, they swung 
off across t h e pol- 
ished floor. They 
danced beautifully to- 
gether, and with a quite evident enjoy- 

The husband — whom we now introduce 
to you as Sidney Drew, jovial "Henry" 
of a score or more Metro comedies — 
glowered after them, furious with jeal- 
ousy. Hang it all ! she had no business 
deserting him to dance with that good- 
looking young whipper-snapper. What 
if he did work in the same studio with 



them in New York? What if he had 
been invited to dinner at the Drew apart- 
ment, and to the summer home at Sea 
Gate? That was no reason why he 
should kidnap Mr. Drew's wife, in so 
summary a manner, was it? And he an- 
swered his own question — it wasn't ! 

Mrs. Drew, flushed with exercise, her 
eyes sparkling with the pleasure of the 
dance, came back with her escort, whom 
she invited to join "Sidney and me" for 
the rest of dinner — since 
said dinner had reached 
the salad course before the 
dance. Her husband re- 
mained morose and taci- 
turn thru the rest of 
the meal, paving no 
attention to attempts 
to arouse him. He 
also neglected a most 
excellent salad and 
dessert, and swal- 
lowed his coffee at 
a gulp, finding it so 
hot that the tears 
sprang involuntar- 
ily to his eyes, and 
he felt the steam 
rising from his 
mistreated throat. 
This he piled as a 
fresh grievance at 
the door of the 
graceless young 
scamp w h o had 
danced with his 
wife — most unjust- 
ly, of course, but 
w h o ever knew a 
jealous husband to 
isn't being done, 

It simpl\ 


be just? 
that's all! 

When the salad was removed, another 
dance was suggested — and executed. 
Mrs. Drew was positively sparkling with 
joy of the dance. Furthermore, her 
cavalier was almost too good-looking, 
and an excellent dancer. And what 
woman, no matter how faithful she may 
be to her husband, fails to feel a little 



thrill when dancing with the best-looking 
man in the room, who is also one of the 
best dancers? 

"What's the matter, Sidney dear?" she 
asked, returning from her dance, laying 
a soft hand on his. "The tooth again?" 

"Gru-um-mph !" protested Sidney — at 
least, that's as near as I can express in 
words the unintelligible growl with which 
he answered. 

"Poor Sid," commiserated Mrs. Drew. 
Then she turned to their guest, explain- 
ing. "Poor old Sid has a pet tooth that 
drives him wild sometimes, but he wont 
have it out." 

Just then the negro orchestra, whose 
souls are tuned to rag-time, struck up 
"Then My Sweet Tooth Starts Botherin' 
Me," and Mrs. Drew and the guest 
laughed delightedly at the coincidence. 
After this, a fox-trot so delectable that 
no one who loves to dance could resist 
it, struck up, and without a word the 
abominable, conceited, egotistical popin- 
jay (the words are Mr. Drew's) rose 
and held out his arms to Mrs. Drew. 
And off they danced again. When they 
returned, Mr. Drew was on his feet, re- 
ceiving the check from his waiter and 
handing him a bill. 

"We are going, my dear," he stated. 
His wife was startled, but after one look 
at him she turned to the young man and 
'told him how much she had enjoyed the 
dance. He thanked her, quite nicely, 
with a well-turned phrase, for the pleas- 
ure she had given him. 

"Poor Sidney doesn't dance," she 

"No, but 'poor Sidney' is going to 
learn," snarled her husband, privately and 

Afterwards, in their own room, he 
faced her w r ith an angry word about her 
having made a spectacle of herself and 
her husband by dancing three times with 
"that young ass." 

"Oh, but, Sidney," she protested, "he 
dances so beautifully." 

"Yes, I suppose so," he snarled ; "you 
women would forgive a man for throt- 
tling little babies with a pink ribbon if 
they were sufficiently ornamental and 
'danced well.' " 

And he turned his back to her, lest 
her appealing beauty make him forget 

his outraged and insulted manhood and 
husbandhood (again the words are his ). 

"Ah, but, Sidney dear, dont be cross," 
she begged, her voice honey-sweet, her 
eyes tender, as she looked at "this big-man 
spoiled-boy of hers. 

"I'm not cross — I'm perfectly happy," 
he snapped. She said nothing, and he 
turned to her suddenly. "Ah, darling, 




I'm jealous of him — I'm jealous of every 
good-looking boy that you dance with. 
Promise me you wont — you promise me 
that you wont dance with any of them 
any more? I'll take dancing-lessons just 
as soon as we get back to New York, 
and I'll go with you to Rector's, Church- 




ill's, Murray's — some place to dance 
every night — if I die from it." 

She hesitated a moment, thinking. 
Then she turned quickly. 

"I promise on condition that you wont 
be angry or cross any more," she an- 
swered. "And the tooth?" 

"It w r as the tooth of jealousy gnawing 
at my heart," he answered, sentimentally. 

Mr. Drew turned the last page of my 
contribution, while I sat watching him 
with palpitating heart. He grinned as 
he reached the end, and my heart dared 
to creep out of hiding and rose suffo- 
catingly to my throat. ''Come in, dear," 
he called. "Mrs. Drew's dressing-room 
is next to mine," he said, in answer to 
my look of surprise, "and it's a wonder 
she hasn't been in before to see who is 
here and why I am so quiet." 

"Now, Sidney," protested Mrs. Drew 
from the doorway, thru which I caught 
heavenly glimpses of blue and gold, "you 
know I'm not curious about your callers, 
but I surely am glad to meet this one." 

"Read this," he said with a chuckle, 
and while Mrs. Drew, her face expressing 
surprise, mirth and appreciation, read my 
"attempt," "Sidney" gave me his verdict. 
He looked at Mrs. Drew and chuckled. 

"Make a corking magazine story," he 
suggested. And my heart dropped to 
my boots and I walked on it. "Not 
enough action for a photoplay. Also 
been done before. But you have our per- 
mission to submit it to — say, the Motion 
Picture Magazine, as a sort of inter- 
view. And Mrs. Drew and I will pose 
for three special photographs to illustrate 
it, if you like." 

I thanked him and rose to go. 

"We are sorry," said Mrs. Drew, with 
her friendly smile, "but we are glad you 
came to see us, and do try again." 

"And I do dance — but I'm not going 
to tell you how long I have known how !" 
was his Parthian shot, as I managed to 
squeeze into the elevator. And the last 
I saw of him he was telling Mrs. Drew 
a very funny story. 

J& J& J& 

A Conditional Acceptance 

(Apologies to Mr. Tennyson) 

'Pray, where are you going, my pretty maid?" 
'I go to be screened, kind sir," she said. 
'And may I go with you, my pretty maid?" 
'Yes, if you want to," she simply said. 

"I, too, am an actor, my pretty maid." 
"We'll play together, kind sir," she said. 
"And then may I marry you, pretty maid?" 
"Yes — in the pictures — kind sir," she said. 

Good Pal 

Bad Footage 


Marjory Wilson registered a bull's-eye 
hit playing" opposite William S. Hart in 
"The Desert Man," but that is no reason 
why she should be caught in gumbo-soil 
in her high-heeled slippers. She was out 
on location with another "Triangular," 
Charlie Gunn, and if the footage in the 
camera magazine was excellent, that un- 
derfoot was all shot to pieces. Marjory, 

of course, balked at walking back to the 
waiting auto — "it simply couldn't be did," 
but Charlie Gunn proved what a good 
pal he was by playing the part of a 
pack-burro. A friend's camera caught 
the rescue-act. and here we have a 
"Moving Picture" of a lady in dis- 
tress, that was never meant to be "shot" 
nor shown. 


Stars and Dog-Stars 







The Stolen 

Oh, Joan, martyr maid of yesteryear, 
redeem thou me . . . from death 
by torture at the stake of 


I made that prayer to yon this morning, 
dear patron saint, because I feel a 
curious kinship with you — partly be- 
cause I bear your brave name, perhaps — 
partly because you fared forth to die for 
love of country, and I — fare forth to die 
for love of man. A living death, per- 
chance — a million crucifixions in an hour. 
I have no adequate reason for this fear, 
only the white, chill finger of Premoni- 
tion, only the fact that as I looked upon 
Love's face today mine eyes were blinded, 




all the world grew dark, 
and I shook, there in the 
warm sunshine, as tho with 
cold. It must be something * 
the same when mortal looks on 
God. One yearns to Him, yet is 
affrighted at His utter gloriousness 
— is sore affrighted at the abysmal 
chasms of pain the lack of Him could 
make, once having seen. That — that lack 
— must be the pictured Hell. 

Perhaps I have lived too much among 
books — have lived too wholly with vast 
loves, loves that blot out the world as tho 
a Hand were laid across a silly, scribbled 
page. Mother has told me, "You will 
come to grief, Joan 

this life laughs a 



clown's laughter at the dreamer." And 
Dad has looked at me and shaken his 
head. I suspect Dad of deep dreams, too 
— dreams that sound still echoes in his 
heart. And so because I believe — sensa- 
tionally, no doubt — that I am on the 
threshold of my heart's Gethsemane, I 
am going to keep this record of it all. 
And I shall dip my pen, perhaps, into the 
inkwell of my heart, and write it down 
in blood. Somewhere I read a little 
verse : 

Deep where some buried Caesar lies 
Blooms there a blood-red flower; 

Out of the soul's Gethsemane — 
The resurrection hour ! 

But let me particularize. He has come 
into Dad's shop often to buy books. Al- 
ways I have liked his selection. Many 
times I have helped him, and even sug- 
gested. Once, the second time he came, 

he told me that he 

writes — plays and 
novels — deep ones, 
of course. I gasped, 
and he laughed. 
Always after h e 
left I would feel 

tinglv all over — and 

Cast of characters of this play as produced 
by the World Film Company: 

so strange, so dif- 
ferent — glad, and 
sad, and very far 
and still. The third 

time he came he told me that he had taken 
the rooms over our shop. After that I 
never stopped feeling different. With 
every breath, with every fiber, with every 
littlest particle of me I was conscious of 
him. And the consciousness stung me, 
and smote me. Yet I didn't want it to 
stop. Now I know that it never will. 
The fourth time he came he told me his 
name — David Clifton. I have kist each 
separate letter in my heart. And I wrote 
"Mrs." David Clifton all over my books 
and pads, and Dad's check-book, and 
mother's monogramed Sunday-best sta- 
tionery. And mother only laughed, and 
said she was glad to see that I could act 
silly like a normal girl of eighteen, but 
Dad looked at my eyes and shook his 
head. Later I heard him tell mother that 
I looked as tho altar fires were burning 
in my eyes. 

And today — today when he came — it 

Joan Ethel Clayton 

David Clifton Edward Langf ord 

Katharine Lambert Tina Nesbit 

Kenneth Brooks George MacQuarrie 

Dr. Crawley Robert Forsythe 

Basil Cairns George Cowl 

Jonathan Merrifield Lew Hart 

was the fifth time — there was a broad 
sun-path streaming down the aisle of the 
shop, and on each dim side the books. 
All at once, as I watched him from my 
remote corner, he wasn't just a very 
charming man — he wasn't a playwright — 
a laureled genius — he wasn't even David 
Clifton. He was Love — sheer, positive 
Love. Love that stabbed thru me to the 
deep, clean places — the forever before 
unplumbed places. All my shallows were 
ruffled, and all my deeps disturbed. 
And so Love came to me. 

Friday, June.1, 1917. 

Already I am ascending the Mount—; 
already the chill finger of that premoni- 
tion I spoke about last month has become 
a full-fledged hand, holding my own till 
I am numbed and tense. Love is going 
to tear me, and mangle and rend me. I 
am going to burn at Love's stake even as 

the long-ago Joan 

burnt. Love is go- 
ing to place upon 
my brow a crown 
of thorns. Yet I 
shall willingly 
crush the thorns 
into my flesh — and 
love the agony. 

Some one has said 
"the woman pays," 
but if she does, she 
pays for a keen poignancy — an ultimate 
ecstasy — a paradise divinely worth the 
paying. David Clifton is not going to 
love me! He doesn't love me now. 

For all this week I have thrown about 
him the purple of my love. Purple is 
for pain. Between the pages of the books 
I loan him — books he cannot well afford 
to buy — I press rare flowers for his rare 
delight — surprise flowers — fragrant ones 
— flowers that seep into his senses as the 
thought-fragrances seep into his brain. 

Sometimes I enclose a little, anonymous 
note. Just abstractions — about love — 
and high things — and dreams. He does 
not suspect me, I think. Often I believe 
that he is already unaware of me — that I 
possess no essence for him. That belief 
is one of my thorns. Unrequited love ! — 
it is the cross on which many and many 
a woman has been nailed. Somehow, 
Love and the Crucifixion bear always a 



strange anomaly in my mind — because, 
I think, the Crucifixion came of the 
divinest love of all. 

Thursday, June 14, 1917. 

I am very tar up the Mount. David 
has altar fires in his eyes now. But they 
are not lit for me — nor guarded and 
tended as he would guard and tend them. 
They burn there for my Cousin Kathar- 
ine. David dear, the humanness of you 
loves her — those gray, those dear, ma- 
terial eyes of yours. Yet I had hoped 
that you would see with truer, inner 

Katharine is dear — and lovely beyond 
words to look upon. But I cannot believe 
that she would care even for you, my 
Shining One. You know, you are slightly 
threadbare, dear — and your hair is all rest- 
less and tousled — and often I know with 
a pang that you are stretching the pen- 
nies a long, long way. 

Katharine's creed of love is this — the 
multi-forked tongue of a Swinburne with 
the touch of a Midas. She could not eat 
black bread, dear Love, to keep the White 
Flame burning. I cannot really describe 
her to you — in spirit we are so alien. 

Only, I fear for you — that you love 
her overmuch. 

I saw the dazvning expression on your 
face that day you saw her first, a week 
ago. After she drove away, smiling back 
at you, I saw the wondering, marveling 
look. You turned to me, and simply 
said, ''Who is she ?" I said, "My cousin" 
— and you walked away. You did not ask 
her name. You did not care. And after 
you had gone, I, like a flagellant of old, 
tore wounds into my flesh, remembering 
the dawning and the wondering in your 

Sunday, July 1, 1917. 

My heart's Gethsemane ! 

How rude and raw and quivering we 
are when Love is lord of us ! I sit here 
today, shaking, and sick, and rudderless 
on a sea of fear and passion, terror and 

Over my little - study David Clifton's 
restless pace is silent. I strain my ears, 
but his mutterings are stilled. I feel as 
tho I were a lone thing — a sentient, pal- 
pitant thing in an utter vacuum. 

David Clifton is in the hospital. He 
lies in a darkened room, with a bandage 
over his eyes. I could scream when I 
think of his eyes. 

Katharine, for whom — how gladly ! — 
he ventured his life, is accepting the 
million-dollar proposal of Millionaire 
Kenneth Brooks. I am trying to get 
dozvn to the thing. 

I had two tickets given me — by Kath- 
arine — for a masquerade. One of them 
I sent to David. I enclosed with the 
ticket a little note saying that he must 
come as Romeo, and that he must seek 
his Maid of Mystery — she who had sent 
him the flowers and the notes. 

Straight as a plummet, thru the motley, 
swirling, pressing crowd he came — to 

Oh, my soul, how you counted time 

"Maid of mystery mine !" he murmured 
in her ear ; yet, low as he said it, it smote 
my ear like a bell, clear and somber. 

She looked at him with her Lorelei 
eyes — she who had flirted with him, 
played with him, bent to him. 

"I do not know you," she said dis- 
tinctly ; then added curtly — "nor care to." 

He was so hurt. So hurt in the man- 
part of him and the boy-part of him. So 
hurt to the quick in his bright pride and 
young, green love. I watched him, 

I watched him furtively all the rest of 
the evening — a dull, gray, aching evening 
for him and me. He made a gallant 
Romeo, and there were ready Juliets 
galore. But for him the zest of things 
had died. And in all he said and did 
there labored effort. 

I knew that he wanted to go, and 

He clung to the rim of her presence, as 
I to his. 

Then came the explosion. 

It was like the first sharp, crackling, 
blinding lightning, after an ominous 
period of sullen murkiness. 

All at once, the gay and motley crew — 
the Pierrots and Pierrettes, the Harle- 
quins and Columbines — all the lightsome 
"comiques" — became wild, frantic trage- 
dies. A new guest had arrived, and, 
despite smoke and flame, confusion and 
hysteria, all recognized him. He was 



the Fear of Death. Shrill above all other 
strident cries, I heard Katharine's terror. 
It was not a pretty thing. It was so 

David passed me. "Please !" I said. 

I was wedged in behind some chairs, 

He glanced at me, but I saw at once 
that I did not penetrate his consciousness. 
And I did not try again.- He -had 
heard Katharine's cry ; had glimpsed her 
stricken face. 

He saved her. He got to her thru 
veritable brimstone and fire. And, lest 
he miss her in passing, he kept his eyes 
wide open, flayed his living flesh, and 
rescued her. 

Today he learns his doom. Deep in my 
soul I pray the prayer of creation, "Let 
there be light." 

Monday, July 2, 1917. 

David is blind ! 

Quite blind ! The sight has fled from 
those gray eyes that faced the world with 
such a shining hope. The altar fires are 
quenched, as by a sacrilege. 

He asked yesterday to see Katharine. 
The nurse told me. He did not know 
her name, but he described; her, and said 
that I would know. She refused to see 
him. "Hospitals make me sick," she 
complained, "and I never asked him to 
save me. And Kenneth doesn't want me 
visiting sick men, anyway." 

"David Clifton is blind," I told her 
sternly, "for your sake. Your 'Thank 
you !' will not be too great a largesse." 

Katharine resorted to tears. 

Then she was seized with an inspira- 
tion. "You see him," she exclaimed," 
"and pretend to be me. He will not 
know. And it will make him happy." 

That last won me. I would assume 
any individuality to make David happy. 

And it did make him happy. "There 
is a light," he murmured to me, holding 
my hand in his feverish one, "that is not 
of the eyes." 

Blind eyes ! Blind eyes! 

Thursday, July 12, 1917. 
/ am going to steal Heaven! 
Friday, July 13, 1917. 
I could not write more than that last 

night. The stupendousness of it over- 
whelmed me — made all things futile. I 
had to be alone in the dark — quite alone 
with the meaning of things. It is very 
stupendous — to steal Heaven. And I am 
going to steal it. I am going to cheat 
for it, lie for it, dissemble for it, suffer 
for it. But I am going to have it. If I 
must see God's face and die — so be it. I 
am going to marry David Clifton. I am 
going to give to him the soul that is 
mine, the heart of mine, the loyalty and 
faith. If he can love all these, then is 
not the flesh the lesser thing? He thinks 
that I am Katharine. 

When he kisses me he kisses, in his 
mind, Katharine's lips. The eyes he 
draws close, and still closer, are Kath- 
arine's eyes. The sun-gold of my hair is 
tawny-brown, he thinks. I move, an 
ardent thing, in Katharine's form ; I 
tenant Katharine's earthly home by 
proxy ; I drive a bitter bargain for my 
meed of joy. 

Sunday, September 1, 1918. 
/ have stolen Heaven! . . . . 

I am sitting here in this golden Sep- 
tember sunlight, typing David's latest 
play. It is going to be successful, as the 
past five or six have been. Beside me 
is our baby son — Baby David. Verily, the 
Kingdom of Heaven is at hand. David 
has learnt to read the baby's face by 
touching it. I taught him how, painting 
with mother-love each tiny feature as 
my husband's fingers rested on it. He 
suffered so when the baby was first born. 
He knelt beside the bed, his sightless eyes 
upturned. And only what he terms the 
'white wings of my arms' brought him 
solace, and the little, intimate touch- 
system I inaugurated-. Now we are 
radiantly happy. 

Katharine has married Kenneth Brooks 
and gone to live in Montana. By her 
marriage the old family mansion, with 
its wide lawns and massive oaks and 
memoried halls, has come to me. And 
here are we domiciled. And here has 
come heaven to earth. 

So twin are we in spirit and in mind, 
so fraught and bound together are our 
hearts, that my colossal theft is quiet in 
my soul. 



And David is like a child with his suc- 
cess. He has written three books, and 
they are sensations in the better sense 
of the word. They make people think 
and feel and grow. He has written two 
dramas, and they are equally successful. 
David Clifton has become 
a name to conjure with. 
I type all his work 
for him — sugg< 
tiny thing's to 

Sunday, October 6, 1918. 

Heaven, Heaven, how dearly art 

thou bought ! 

1 came home today after my month on 
the road. The home-bound train 
moved tortoise- fashion t o m y 

impatient heart. I quivered 
like a young aspen at 
thought of David's 


^^ him now and then — help 
him enormously, he declares. 
But that is his dear love speak- 
ing. If ever its voice were 
\9 mute . . . 

Next week I am going away from 

him for a month — for the very first 

time since the minister placed his 

ring on my finger and he turned so 

eagerly to kiss — Katharine's lips. 

That thought would be my madness 
did I not, at every step, deny it. I am 
going on the road with the new play to 
see exactly how it is taken by the 

Always I must be eyes for David. 

touch. My mind raced ahead in 
anticipation of how many dear delights ! 
I longed for my infant son too, but mostly 
— mostly for David, who is all my tender- 
ness, all my hunger, all of desire that in 
me is. 

I laughed aloud as I entered the wide, 
flower-filled hall. It was glowing with 
massed yellow. 

Upstairs, in his den, I thought I heard 
David echo my laughter. I heard my 
son coo. Then there came footsteps — 
quick, sure steps. A man's steps — 
David's steps. I stood, white and still, 
till he bounded down the stairs, awk- 
wardly, eagerly. He had a framed 



picture in his hand. It was Katharine's 
picture, and, with the strange eye for de- 
tail of the suffering mind, I saw it was 
all blurry with kisses. 

Instinctively I threw back my head 
and raised my face — my strained, white 
face — to his. The last light of the martyr 
flared, torch-like, in my eyes. 

He was simply staring at me, staring 
-just relentlessly 
one of us must 

and staring and staring 
staring. I knew that 

''Yes, it is I" I said. 

"I thought — I believed 

He could barely 
articulate. Pity for 
him stirred in me — 
that he should, in 
his extremity, have 
been deceived. Yet, 
if deceived, he had 
been happy, too. 

I pitched m y 
voice so low he 
/ had to 

"This," I cried to myself 
as I waited, trapped in his 
silence — -"this is the unbear- 
able moment!" 

With a second-sight 
penetrated his silence — 

his thought of our 
past year. He conned 
it with his senses and 
his mind. I knew that 
my tendernesses 
called to 
h i m ; I 


bend to hear me. I whis- 
pered to him the illimitable 
glory of my love — I confessed. 
Then I waited — for absolution, 
or penance. Heaven's thief was 

that our intimate hours 
pleaded with him. He had 
looked on our small son's 

And then he held out both hi 



Sunday, November 3, 1918 
Paradise Lost! 

I keep intoning- that over and 

x over again in my heart. I am 

/ being driven out of Paradise 

— by an angel with a flaming 

sword. The 

, angel has 

Thus slowly I am mounting to Geth- 
semane's summit. 

Katharine came back a fortnight ago. 
She and Kenneth are going to live in 
town. She is more beautiful than 
ever — mellowly, glowingly so. 

In the largesse of my love I 
wanted David and her to be - 

And I have asked her often 
to our home. 

She sees David in a ■ fl 

different light now. 


Katharine's face and form. In stress 
I always generalize. And that is no 
way to record facts. Nevertheless, 
I am being driven out of Paradise 
— the Paradise of David's love ; driven 
out slowly but surely — inch by inch. I 
am fighting my eviction. But my 
weapons seem blunt and dull. They are 
old and worn and futile. Very soon the 
gate of Eden will swing to, and I shall 
be barred out. 



Clifton, * 

famous novelist, 
moneyed, ehvie d, 
courted and flattered, is 
a very different matter 
from threadbare, shabby * 
David Clifton, living ob- 
scurely on his fool's dream 
of her — masked shabbily as 
the trillionth Romeo, or lying _. 



sightless on his bed of pain. She seems 
miraculously to have forgotten the shab- 
biness and poverty. She seems, some- 
how, to assume the attitude that this — 
that David — is her one, true Romance — 
that I defrauded her. And, knife-like, it 
is reaching me that he believes the same. 

Tuesday, December 3, 1918 

Today Kenneth Brooks came to me in 
a white rage. He quite forgot himself — 
completely forgot me. In a veritable 
frenzy he told me that he knew Kath- 
arine was visiting David almost daily in 
a studio he has taken in town since her 
return, and that he had seen them at 
luncheon this very day, lost to all outer 
things in an obscure corner of a cafe. 

I tried to reassure him. I made dismal 
boast of the dependability of David. My 
hollow reiterations fell on unconvinced 
ears. Poor Kenneth departed, still 

When David came home I confronted 
him. One cannot cringe on Gethsemane. 
And tho I stole Heaven, I pray that I 
may return it fittingly. 

"Yes, it is true," he told me, cornered. 
"God help us all, Joan, it is true. I love 
her. I cant help it. I cant get away 
from — from the spell of her. It has been 
that way from the first. Her face il- 
lumined my darkness ; her eyes shone 
thru it, and lighted up my soul." 

I left him before he tortured me again. 
Up in the baby's room I fainted. It was 
a merciful respite. 

One pays, and pays, and pays for Para- 

Wednesday/ January 1, 1919 

It is all over. The gate is closed. The 
pinnacle is scaled. Over — the bloody 
sweat, the bitterest cup. Over — or just 

For nearly a month Katharine and 
David were constantly together. He lived 
at home, but we rarely saw each other, 
and never spoke. Around my temples the 
gold of my hair turned white; The altar 
fires in my eyes went out, and horrid, 
long dead ashes showed instead. As one 
would fight an angel or a beast, I fought 
my unconquerable love. I downed it. I 
shamed it. I mocked and defied it. And 

it lived — it lived by its very pain. It had 
— it has — eternal life. 

Then, smashingly, came the climax. 

One morning, two days ago, my dear 
old doctor-friend, Beethoven Crawley, 
came to me. His every line held a 
trouble and a reluctant grief for me. 

"Joan," he asked me, "haven't things 
been going — right?" 

He brought me into existence, soothed 
and medicined every baby pain and pang, 
tended David in his blindness, ushered 
my wee David into being. I had to give 
him my truth. 

"No," I said, haltingly, for any men- 
tion of my tragedy came from my mute 
deeps— "no, dear ; things have been very, 
very far from — right." 

"Do you know," he pursued — cruelly, 
it seemed — "where Katharine Brooks is 

"She is doubtless with David," I forced 
from between my teeth — "in his studio." 

"Then, my child," the old doctor said 
swiftly, "you must make all haste there. 
I have just left poor Kenneth Brooks. 
I came upon him reading a half-written 
letter in his wife's handwriting. The 
recipient proper you may surmise. Be- 
fore I made known my presence he had 
loaded a revolver and pocketed it. He 
looked — like business. If I were 
you " 

I did not wait to hear more. I did not 
know for which of the two Kenneth 
Brooks meant his pitiful revenge ; neither 
of them must meet it. 

On my way to David's studio I did not 
think. One can stop thinking, in straits. 
But they are the most desperate straits of 
all. I knew that I must be numb for what 
I was about to encounter, else the sight 
would deal me my mortal wound — would 
hurl me from my balance. 

The studio was dim. It was exquisitely 
toned in peacock blue and greens, with 
odd purples and dulled silver. The floors 
were black. Incense stifled the air, and 
in the grate a fire almost died. In the 
faint, fitful light their two heads almost 
touched. Their voices almost merged. 

My heart's Gethsemane ! 

"David !" I called sharply. "Kathar- 
ine !" They started guiltily. David went 
white, but Katharine burned to shamed 
and sullen red. I didn't give them any 



chance to speak. I was afraid of what 
their speech might he. 

Hastily I told them what Dr. Crawley 
had told me. "No such thing must hap- 
pen," I commanded. All at once I was 
the dominant one. "There are others to 
consider. There is my little son. Hide 
at once, Katharine, and I will take your 

When Kenneth's too quick footsteps 
sounded on the stairs I was leaning close 
to David — taking Katharine's place ; and 

Love had not died, hut it seemed to 
me as tho a radiant, living, glowing thing 
of tint and flesh and blood had turned to 
stone. It stood there still — cfuiescent — 

Kenneth Brooks burst — literally burst 
— in upon us. "Hullo, Ken!" I greeted 
coolly. "Some tea 
with us ? Why look- 
so astounded?" 
"I thought," 
h e stam- 

as I leaned there, 
caving him again, as I had 
saved him countless times before 
— from himself, from hurt love, from 
loneliness, obscurity, despair — I knew that 
I never could save him again after this. I 
knew that the will had gone. I had given 
beyond all giving, and he had counted it 
not enough. Now — if ever there should 
be a now again — it must be he who gives. 
He must bring me the solace and the 
balm, the sunshine and the joy. He must 
pull out the crucifying nails from my too 
tortured flesh. Beyond giving, one must 
be given to. 


only half con- 
vinced, "Katharine 
— a letter 

I managed to look offended 
— t hat part wasn't so hard. 
Shame at the part I was being- 
forced to play burned my cheeks. 
"See here," I said sharply, "if you dont 
stop sowing discord in this family by 
accusing my husband, I'm going to do 
something radical. As for that old letter 
you've got, / put Katharine up to writing 
that to David. You've been acting so 
very odd of late that Katharine thought 
you had stopped caring, and / told Kath- 



arine to write that letter, have you see it, 
and bring you to your senses. Evidently 
the ruse has worked." 

Poor Kenneth ! Poor, simple boy, with 
all his millions ! He apologized profusely. 
We forgave him, hypocritically, and he 
departed. By a certain flatness of a pea- 
cock drapery I knew that Katharine had 
slunk out before him. After they had 
both gone there was 
long, keen silence. I 
knew that David 

love. I tried to be glad, but I was too 
weary, too tired. 

After a while we went home. David 
said little. He valued silence and the 
depths of my knowing. 

We went together to see r' u > 

Baby David for the first 
time in weeks. 

was looking at me. I knew, too, 

j^~ that he was seeing — really seeing — ■ 

me for the first time. I felt drawn 

— drawn into his being. I was tired, 

tho. It seemed to be too late. 

All at once he was on his knees beside 
me, with his head on my knees. He was 
sobbing out broken things. 

I closed my 
eyes inertly. He sat there for a long, 
long time, just holding me. I felt that 
he was living that moment I had lived 
in our book-shop when I had looked on 

Dr. Crawley was still there, 
talking to nurse. I turned to v 
David — to the question in his 
eyes. "You must go away for 
a year," I said. "I must be — I 
alone. At the end of that time you may 
come — home — if you can bring — Love — 
with you." 

And so, he has gone. 

Oh, Joan, martyr maid of yesteryear, redeem 
thou me . . . from death by torture . '. . 
at the stake of Love! 

The Why of the 
Tankless Film 


(All photos copyright by LA VOY) 

IN all the thousands of feet of 
war film that have been shown 
in this country you have seen 
no armored ''tanks." In fact, you 
have not had so much as even a 
glimpse of the mysterious tract- 
or's footprints. And there is 
right good reason, too, for the 
French Service de l'Armee, whose 
word is law concerning all film 
activities in the war zone, has de- 
nied and does flatly deny permis- 
sion to film any tractor tank, be 
it in action or disabled and inert. 

Hence, notwithstanding the 
stupendous value of a film show- 
ing the most-talked-of engine of 
war going into action, we have 
yet to see it exhibited in America. 
But we almost had the oppor- 
tunity. If — but that is getting 
ahead of the story.' 

In the early spring of 1915 one 
Merl LaVoy, American camera- 
man, sailed for England. He 
was equipped with a Motion Pic- 
ture camera, several years' film 
experience all over the world, 
and boundless confidence. Mark 
that last well, for it 
was the most 

important part of his equip- 
ment. His original plan was to 
spend a few weeks in the war 
zone, film everything of interest, 
and return to America triumph- 
ant. Mr. LaVoy's original plan 
was carried out, too, with the ex- 
ception of the "few weeks." Over 
a year was consumed in disentan- 
gling red tape preparatory to get- 
ting to the French front. Fifteen 
months is a powerfully long time 
to wait when one is a-quiver to 
accomplish a mission, but LaVoy, 
with his native persistence and 
his boundless confidence, accom- 
plished precisely what he set out 
to accomplish, and incidentally is 
the only civilian Motion Picture 
camera-man who has been at the 
front since the first two months 
of the war. And having spent 
three months at the front myself, 
and having seen LaVoy's film, I 
feel qualified to pronounce it 

e a s H y 
jtjt the best, 
i n pho- 
and sub- 





matter, that has been shown in America 
to date. 

But to get to the tanks, which in this 
case aren't. Having disengaged himself, 
in a measure, from the military red tape, 
and armed with half-a-dozen official 
papers giving him permission to do 
this, that and the other thing — with 

just going to tuck away a few feet of 
it in my little camera. It was a magnifi- 
cent sight, that great, lumbering ma- 
chine forging ahead thru the deep mud 
without any apparent effort, and a bit 
farther on it crossed a reserve trench — 
about nine feet wide, I should say. When 
its nose had reached the opposite side, 

z.zri7izzz:~z -_:::....: 


restrictions — La 
Yoy arrived in the 
Somme district in 
the fall of 1916. 
His own story 
runs thus : 

"We were feel- 
ing our way along 
in an early morn- 
ing fog in the Somme, and as the mist 
lifted we noticed that the soldiers along 
the way were gazing ahead at some ob- 
ject of interest, and presently we learnt 
that it was one of a squad of tanks going 
into action. It was the first I'd seen, and 
I made up my mind right there that I was 





it just pushed ahead, and the rest crawled 
along like a giant caterpillar. Barbed- 
wire entanglements were nothing in its 
young life; it plodded thru them like a 
bear thru brambles. 

"About this time my circulation was 
about as spry as it ever gets, and it was 

all I could do to keep my hands 
off that camera. I begged the 
officer in the car for permission 
to 'shoot' the tank, but he said 
'No !' emphatically — couldn't think 
of taking a picture of it, even a 
'still.' But I pleaded and kept at 
him with every argument I could 
think of, until he finally gave 
in. 'But quickly !' he com- _™., 
manded in French, 
and I didn't 
waste any time. 
I ground away 
until that 

out of sight, and wanted to 

get some more of it farther 

on, but my officer wouldn't ■* *' 

hear of it. However, I had at last 

filmed a tank in action, and was feeling 

mighty chesty about it, and didn't begin 

to worry ; yet, how was I going to get 

it to America? I had the film, and 

that was quite enough for the present. 

In due time I got back to Paris, 

and broke, as per custom. I had 

been over in Europe so long 

without having sent home 

any film that my 'angels' 

in America were be- 

ti i n g tc 

think I 



met with prompt response, so I concluded 
to try it again, and, to make the request 
more welcome, I mentioned in the cable 
that I had succeeded in filming a tank. 

morning and 
announced that 
three men from the 
War Office 


' : 



were waiting for me. They produced they let me go in peace, if not in 

a copy of my cablegram mentioning happiness. For when I think of that 

the tanks, and with a significant 'That little strip of film stowed away over 

is forbidden,' then I knew that my there, and of the dollars it would 

chances of getting that priceless bit of mean to have it projected over here — 

film to America were extremely thin, well, I just dont care to talk about it any 

However, after lengthy explanations, more." 













Charlotte Caustique, the Charlatan 


Chapter I of Any Old Serial 


t was Thanks- 
giving Day ! 
C h i n bad, 
the Tailor, was 
standing in the 
doorway of his 
little shop, 
thankful that 
the soot falling 
all around him 
did not have to 
be cleaned and 
pressed. Chinbad 
was smoking a 
stogie, the native 
fruit of Pitts- 

S u d d e n 1 y a 
shriek rent 
the chilly 
air. (Up to 
that minute it 
was the only 
thing unrented in 
the Smoky City.) 
Chinbad shuddered 
slightly. He knew 
that old No. 5 had tooted its way 
by an hour ago and it was surely 
' too early for the steel-mill whistle. 
He would wait and see what the noise 
portended. Not being seated at a table 
in a New York restaurant, he had not 
long to wait, for, rushing down the street, 
her peroxided hair floating in the breeze 
like the Chinese flag, was a small, frail- 
looking maiden weighing about two hun- 
dred pounds net. 

Her skirts clove to her delicate form 
so closely that he could actually taste 
the clove. 


Her cham 
p a g n e- 
h it e d 
t h e 
mically "p.-*"^ on the 
pavements ^SJjL Wr as she quick- 
ened her f&Sr pace. "Shave me! 
Shave £'-^ me!" she screamed. 

"This is a tailoring establishment, 

lady, not a barber-shop," retorted Chin- 
bad, nervously. 

"Despite the scarcity of chemicals," 
gasped the gazelle, "I am being pursued 
by a deep-dyed villain. If he catches me 
I know he will tear me limb from limb. 
He's a human fire-engine." 

"More like a limbousine," laughed the 
tailor; then quickly added, "you cannot 
enter here." 

Aside she brushed him with the dex- 
terity of a Pullman porter and whisked 
into the shop. Hanging from one of the 
racks was a pair of trousers made to or- 
der for the movie man, Roscoe Arbuckle. 
It was behind one of the stripes in these 
trousers that the wan lady hid. 

The suit-maker was about to dart into 
the shop and drag a confession from the 
maiden, when a big, brawny ruffian, 
weighing about ninety-nine pounds gross, 
grabbed him by the arm, whirled him 
about and inquired in a raucous voice : 

"Say, pal, did a slip of a gal come 
down this pike?" - 



out his false 

drawled Chinbad, taking 
teeth to keep them from 

( T didn't see 

no one 



"Dont lie to me. I'm not the tax as- 
sessor, yer know," went on the burly fel- 
low, knocking Chinbad under the chin 
with such force it put his beard back at 
least two weeks. "Remember, if you are 
not telling me the truth, and I find the 
gal concealed on your premises, I'm go- 
ing to take this cutlass and cut you up 
into such small pieces they wont be able 
to carry you to the cemetery in a sieve 
without losing three-quarters of yer." 

He, he, he ! tittered the tailor, with fear 
rather than with joy. 

"Not he, he, he — but her, her, her. 
An' now I repeats, if I find dat gal 
on these premises, I'll cut off every- 
thing, includin' your income." 

Calmly lighting a cigaret, 
the ruffian walked away, 
with a bold swagger. 

The tailor stared 
after him in a very pe 
plexed way. The littL 
girl, badly frightened, 
came from behind the 
trousers and, creep- 
ing stealthily over to 
the tailor, fell at his 

"You'll shave 
m e, wont 
you?" she 

One, it - 
looks as 
if I will 
have all 
I can do to 

"Then he 

"Us two. And he'll do it if he comes 
back and finds you on my hands." 

"But I'm not on your hands ; I'm on 
your feet." She wept hysterically. 

"Who is this boiler-maker that so 
rudely chases you?" inquired Chinbad, 
pulling aside his foot to prevent her tears 
from falling upon and spoiling the shine 
on his shoes. 

"He's a professional killist. He kills 
folks like you and me swats flies." 



YOU ll shave 

safety-shave myself." 

has threatened to kill you, 

"Was he ever after you before?" 
"No, he was always behind when he 
was after me. Yon see Pete was at one 
time an oyster pirate in Jamaica Bay. 
One day in June, while I was walking 
over the L. I. R. R. trestle, my foot 
slipped and I fell into the bay. My 
screams brought Pete to the scene and 
he bravely shaved me from a watery 
grave. I liked his strong 
arms about me, and after 
that I used to fall in 
regularly. One day he 
confessed his love to 
\ me, but I resented 
'\£\ it boldly. Then 
he. threatened to 
■\^ steal me, but 
I told him I 
wasn't that 
kind of an 
oyster. He 
then shut 
up like a 
clam and 
told me I 
was very 
shellfish. I 
scoffed at 
him and then 
darted away. 
Then he 
shouted after 
me that if he 
ever met me 
again he 
would kill 

"Yes, go 

'Well, that 
was twenty 
years ago, and today whom should I see 
as I stepped out of the hotel Shenley but 
Pete. He beg _ an chasing me immediately 
— and that was yesterday afternoon— 
and we have been running ever since. 
And if he finds me here, and if he finds 
me here, and if he finds me here— 

"Enough! He will 
here three times. Once 

If. he comes back I'll 


Both turned quickly. There, standing 
before them, looking like Frank Push- 
man, his brawny arms folded over a 


never find you 
will be sufficient. 



breast that heaved like the artificial 
sea in the third act of "Treasure 
Island,'' was Pete. 

"Oho!" he neighed again, 
fearing that he had not oho-ed 
emphatically enough the first 

"Aha!" giggled the tailor, 
humming that beautiful little 
nursery rhyme, ''Ashes to 
ashes, dust to dust." 

"So yer deceived me, hey?" 
began the ruffian, pulling his 
cutlass from its cupboard and 
sharpening it on the soles of his 
two shoes. 

The pailor turned tale, or 
rather the tailor turned pale. 

"Unless you are a union cut- 
ter," he gurgled, "I can have 
nothing to do with you." 

"I wants it understood that I 
am a fellow what keeps me 
word." Pulling a hair from his 
camel's-hair undershirt, he tried 
the edge of the cutlass. 

It was so sharp that the hair 
was severed in twain. He watched it 
drop to the floor and run a race with 

itself before it curled up and died. 
"Have a hair!" cautioned Chin- 
bad. "This is ticklish business." 
Charlotte Caustique turned creamy 
white with terror. 
"Another one of your ruses, Char- 
lotte," muttered Pete — "another Char- 
lotte russe." 
And then, while the agony 
hung suspended on fifty feet 
of film, Chinbad made his last 
plea. "Alas, would you cutlass 
a lass?" 

T am too young," explained 
Charlotte, "to die — too tough 
to be flammed. — too sticky 
to be filmed — too bilious for 
a close-up !" 
All this while the little maiden, 
frenzied with fear, was nerv- 
ously jerking at the trouser-legs 
of the tailor until they hung in 

"I keeps my word," repeated the 
oyster pirate ; and so saying, he raised 
his cutlass aloft, and just as the colossal 
knife was descending towards the tailor's 

(To be discontinued) 





Photo by Hartsook 

Now that the suspense of the oft- 
repeated assertions and denials, 
long current in the news col- 
umns, of Mary Pickford's threatened 
change from the Famous Players 
Company's management, was finally 
ended and cold in the discard, I de- 
cided to ask Little Mary how she liked 
playing the part of producer. 

The morning paper announced that 
Mary Pickford was to desert the East 
for California. A big studio has been 
taken over for her in Los Angeles and 
work on the next Mary Pickford Art- 
craft pictures was to include "Rebecca 
of Sunnybrook Farm" and "A Ro- 
mance of the Redwoods," directed bv 
Cecil B. DeMille. 

Everybody seemed to be very busy. 
Even in the street, the pounding of 
hammers and scraping of moving 
scenery were distinctly audible, while a 
corps of assistants, under a technical 
director, was busily engaged in un- 
loading several trucks of properties. 
Affairs of the Artcraft Picture Corpo- 
ration seemed to be well under way. 

After cooling my heels in the office, 
awaiting the pleasure of a small Cer- 
berus of the studio in the person of a 
freckle-faced call-boy, I was escorted 
to Miss Pickford's dressing-room. 

Little Mary, fresh from her after- 
noon's work and the hands of her 
maid, was resting on a big, comfort- 
able-looking wicker couch. 

"Come right in and sit by that win- 
dow," she called cheerfully, "and 
enjoy this delightful breeze." 

Mary Pickford, 


I dropped into the arm-chair with 
a sigh of content. 

"Miss Pickford," I said, going 
straight to the point, "I came up ex- 
pecting to find you in an office with 
books and papers and things. What 
is the meaning of this ?" 

Little Mary laughed. 

"I'm really very glad you came, for 
the newspapers have given a very false 
impression. I dont go into an office 
unless I have to. I want to make 
pictures, not sell them. 

"You see," she went on, "when an 
actress is successful, everybody thinks 
she wants to do everything from di- 
recting to running a corporation. 
Now, I dont want my friends to get 
that idea. Things are going much the 
same as usual, except that I get no 
salary, but share in the profits." 

"Then you are not directing your 
own pictures?" 

"Most emphatically no! Mr. Mau- 
rice Tourneur and Mr. DeMille are 
now my directors. Mr. Zukor, Mr. 
Lasky and myself are in partnership, 
and Mr. Zukor is still the papa of the 
concern, as he always has been. Of 
course I have the choice of the stories 
and have a say in the studio work, but 
I am a player and wish to remain one. 
One person cannot make a picture, 
much less a corporation." 

Little Mary's mouth was set, and 
she looked quite positive. 

"Has forming your own company 
proved more beneficial than working 
for the Famous Players?" 

"I dont know that, it has helped 
me, but it was my dream for a long 
while. Every actress looks forward to 
it, I guess. Everything is going well, 
and we are all working very, very hard. 
But my real reason for wanting the 
change was in order to be independent 
of any definite program. While I 
was with the Famous Players, I -re- 
ceived manv letters from exhibitors, 


complaining that they could not afford 
my pictures because they had to lease 
the whole program. I began to feel 
that I wasn't reaching my friends out- 
side as I should, and if they really 
wanted my pictures money shouldn't 
stand in the way, so we talked it over, 
and decided that this was the best 
way. That's all." 

"That's all," but there you have 

Little Mary's character. She will go 
to twice the trouble and twice the 
labor, for she really is laboring very 
much harder to please her friends- 

This latest successful development 
of Mary's career hasn't changed her a 
bit. She is just her usual, unassuming 
little self, with the same childlike won- 
der at her popularity. Perhaps that is 
where the secret of her charm lies. 



IT -''•'' te r^ 

wtrm Hyil 






k.lk_ _.. _. -IJ 








The Delayed Arrival of Mildred Manning's 



hen I hear of a new star 
in the film firma 
ment I immedi- 

ately want to go star- 
gazing. Miss Mildred 
Manning is the latest 
recruit to the Yitagraph 
galaxy, but I happened 
upon her when she was 
waiting for her first peep at 
a wardrobe of new gowns. 
It was not my first inter- 
view with an actress, but 
there seemed to be a 
in my first 
with Miss 

I didn't know 
whom she was 
expecting, but 
soon lea 

r n t 

intended polite 
of " 'Morning, 
Miss Manning," must have 
sounded something like 
" 'Morning, ma'am !" Fa- 
cial storm-clouds were 
gathering on her mobile 
countenance and almost 
"registered" an expression 
of "wrath." I was about 
to retreat before the bat- 
tery of her wonderful eyes. 
We both tried to talk at 
once. I didn't have a chance 
to ask how she liked playing in 
the silent drama, nor to view the 
gowns which seemed to 
w ~— --. ... be the topic just 

then of mutual 
■■--v^ interest. 

*"" ^ - It seems she took 


the Couturiere 

Gowns Makes Interviewing Hazardous 

a repre- 


J! L n- 

layed and 
much - de- 

i r e d 

gowns. But I wasn't from Lucile's; I 
hadn't the gowns. I hadn't seen them 
— T very much wanted to, and to go on 
explaining just why I was there. And 
finally, when the explanation was made 
and she understood I had come for an 
interview, her sweet serenity prompted 
me to ask if her second initial was A. 
I didn't know that she had a middle 
name, but I wanted to be her fairy 



godmother and christen her right then 
Mildred Amiable Manning. If being dis- 
appointed for the nth time, at the crucial 
moment in the matter of the delivery 
of gowns, was cause for registering 
"wrath," Miss M.'.A. M. was justified. 
She said the "trying-on" had been such 
a trying experience, but the delay of their 
receipt, was even more trying, and she 
hoped the gowns would arrive before I 
left, so that I could see them. In the 
meantime she showed me how her 
"homey" spirit could convert an apart- 
ment suite into making you feel like say- 
ing : "Well, this is something like home." 
First we talked about the mysteries of 
make-up — not the kind that Lola Mon- 
tez used, but of the timely present- 
century process of powder "prepared- 
ness" before "screening" — that complex 
subject of "making-up," or, rather, 
"making-down," as Miss Manning laugh- 
ingly expressed how "they" must tint a 
yellowish hue (under the trying light) to 
appear beautiful. She said: "It's quite 
simple. First you use good cold-cream, 
then wipe it all off, and then a layer of 
cream-colored grease-paint, and a little 
black grease-paint around the eyes to 
shadow them ; then powder of 'Rachel 
tint,' as it says on the box. Then take 
off any grease-paint or powder that is on 
the lips. Then put the slightest bit of 
crimson grease-paint on the lips. The 
reason I use an entire grease make-up is 
because I find it the smoothest. A great 
many people use a grease foundation and 
then other ingredients to finish with, but 
it is not so smooth for me and does not 
blend so well. After this, be sure all the 
powder is out of the eye-lashes, which 
can be accomplished by wetting a soft 
cloth and gently going over them. This 
is about all that is necessary. But what 
is best for some people is not good for 
others ; for instance, people of a light 
complexion need a deeper shade, and 
those of a more olive need a lighter shade 
both of grease and powder. Some use 
a cosmetic which is applied to the eye- 
lashes to bead them and make them 
longer and which makes the eyes appear 
larger." When I asked how she had 
learnt the make-up for the screen, she 
replied: "D. W. Griffith taught me. I 
had been using a different make-up for 

the stage, a nice pink-and-white one with 
plenty of rouge, which is quite wrong, as 
we use no rouge in the pictures. At the 
time I was under Mr. Griffith's direction 
he wanted an even cream shade. Since 
then I have tried many make-ups, but I 
always return to the first, the one Mr. 
Griffith taught me." 

Passing from "make-ups" and "downs," 
gowns and other subjects, Miss Manning 
showed a charming versatility in outdoor 
as well as indoor sports. It was refresh- 
ing to listen to her views. I know she 
can ride a horse. No, not just because 
she told me so, but just because of this 
little comment : "You know what I wish 
the movie managers would do — I wish 
they would feature the horse ; not as they 
always do, speeding a-mile-a-minute 
across the screen, but show us something 
of their intelligent, affectionate quali- 
ties." She admitted, too, that the thrill 
of the swift whirl of an ice-boat, as it 
came about and shot away on a new leg, 
had its charm for her. 

"Miss Manning, do you prefer the 
movies to the stage ?" 

"Yes, I do in most ways — in a few 
ways, no. You see, in the movies you 
are always doing something different, 
which is bound to keep up your interest. 
You never do the same things over and 
over again for forty weeks or longer. It 
is not hard to live a character in the 
movies as you go straight on with your 
story, but it is hard to live a character 
on the stage for three-and-a-half hours 
every day (and sometimes twice a day) 
in the week, every week in the month, 
for eight months at a time. If Sarah 
Smith is a drab part, she must not 
brighten up a bit ; you dare not let the 
poor girl have one ray of sunshine in 
eight months. Just think of that — hor- 
rible ! Or, if Xellie Brown is a gay but- 
terfly, she must not droop her wings for 
an instant, no matter how she may feel. 
But on the stage you do know just how 
long you are to be at work, and one can 
arrange one's plans accordingly. In the 
movies, you never can tell." 

Just then the gowns arrived. The one 
I liked the most was a beautiful negligee 
of dove-gray silk chiffon embroidered in 
silver. When I asked her if she would 
have some pictures taken in that partic- 



ular gown, I was promised a copy if I 
would forget that she had appeared dis- 
agreeable about the long-delayed de- 
livery of the gowns. I was glad they 
had been delayed. It had given me an 

opportunity of enjoying a visit with the 
amiable Miss Manning, whose gracious 
manner left«me with the impression of 
not being disagreeable at all, but most 




Our Players at the Front 



"How I Got In' 

A New Department, in Which the Leading Players Tell of 

Their Beginnings in Pictures and How They 

Got Their First Start 

Last year 

we published a series of 
"How to Get In." These 
were written by leading 
showing:, from their view- 

point, what the chances are to get into 
Motion Picture work. As a result, we 
were besieged by requests asking these 
same players to tell how they — individ- 
ually — "got in." So we sent out letters 
of inquiry asking them not only how they 
got in, but their first impressions of the 
camera ; how they would improve Mo- 
tion Pictures ; if they like screen work 
better than stage work, and what they 
say to persons who aspire to become 
Motion Picture stars. Here are the an- 
swers, and they differ in some ways as 
widely as do the writers. How- 
ever, nearly all agree in one 

way — in giving the same advice to photo- 
players that Punch gave to the man who 
asked his advice about getting married — 
"Dont!" We urge our readers to read 
these articles carefully and understand- 
ingly. Each one is the story of a life's 
hopes, ambitions, discouragements, and 
final success. The story is not ended yet, 
but is being lived, and between the lines 
we read the secret of success. And 
it is no different in Motion Picture 
work than in any other line of work 
— just careful, painstaking, conscien- 
tious, plain hard "plug." Without it 
there is no royal road to success. 
Further "How I Got In" "con- 



78 I 


me to Mr. Buel, director at Ka- 

lem's. Mr. Buel had given many 

beginners a chance, and was good 

enough to give me a lead in 'The 

Engineer's Sweetheart,' and I 

continued with him two years. 

"My first impres- 
sion of the cam- 
era was 
pure and sim- 

completely worn out from the antics of 
that horse, and am sure I should never 
have returned the second day had it not 
been for Mr. Bud's kindly encourage- 

"The conditions under which pictures 
are produced have been greatly im- 
proved ; shorter studio hours, for 
one thing. I have worked under 
the long and the short hour 
regime, and I know that players 
are happier and do more and 
better work with short hours. 
Miracles have been accom- 
plished in Motion Pictures, 
| but there is still a chance for 
improvement. If producers 
could see the pictures as audi- 
ences see them, the stories and 
titles would soon be improved 
upon enormously. And I think 
there should be more fairness 
about the money question. Why 
shouldn't a company make more 
money on a star who is 
drawing big audiences 
than on one who keeps 
audiences away and 
yet draws enormous 
salaries because he or 
she has good busi- 
ness ability ? I think 
players should be 
paid according to 
the money they 
bring in. 
"I cannot com- 
pare photoplay 




horseback riding — 
the important thing in 
that picture. Soon as I be- 
came accustomed to the camera, 
I became interested in seeing 
what I could do, tho I was 

work with the stage because I have had 
no experience on the stage, except one 
night in a sketch. One thing I do know 
— it always makes me ill to appear be- 
fore an audience. So I am sure I could 
never have succeeded on the speaking 




stage. I like my work immensely, but 
would never advise any one to go into 
it. It is too long and hard a road to 
travel. Rather, I advise every one who 
has photoplay aspirations to stick to their 
'job' and do it the very best that it is 
possible to do it, whether housekeeping, 
dressmaking, blacksmithing or any other 

thing. I was more fortunate than most 
— it happened that a girl was needed in 
a hurry or perhaps I never should have 
been accepted. Fate (impersonated by 
Mr. Buel) was kind — that was all. It 
gave me my chance ; but I have worked 
for and earned every bit of success that 
has come my way.'' 


Pathos Leading Man 

"I was curious to see how pictures 
were made, so one day I invited myself 
to go down to Kalem's. I knew the 
director, Mr. Lawrence, and he, having 
seen me on the stage, said I was the type 
he wanted as leading-man for Alice Joyce, 
who had just arrived in the cast. He 
insisted that I try it, which I did, and I 
found it very much to my liking. Some 
Motion Picture actors have a great deal 
to say about their first sensations before 
the camera. I felt very much the same 
that I did the first time I faced an audi- 
ence on the stage. I was a bit self-con- 
scious and fearful of the consequences, 
but was able to keep my balance and to 
realize that it was all in the day's work 
and something to get used to. I watched 
the director, was soon lost in my part and 
forgot everything else. 

"I like the photoplay better than the 

stoge because there are such infinite pos- 
sibilities. A greater variety of subjects 
can be handled in this way and there is 
a greater scope for the play of the emo- 
tions. The more knowledge one has 
about pictures, the more evident it is that 
there are a great many ways in which 
they can be improved. However, censor- 
ship will not improve them — least of all a 
national board of censorship. It limits 
the efforts of the producer in a direction 
where enlightenment is needed and might 
do a great deal of good. 

"To the ones who are trying to get in 
I say — Unless you are really talented and 
are sure of it, and have great capacity 
for holding on, working hard and making 
the most of every opportunity, stay out. 
It is your duty to make the most of your 
capabilities, but — better a good plumber 
than a bad actor." 


Famous Players' Dainty Little Maid 

"I was playing Prunella at the Little 
Theater in New York when Mr. Daniel 
Frohman asked me if I would consider 
doing a picture. I had given very little 
thought to pictures and was so fond of 
my work on the stage that it took me 
some time to decide to leave it. Finally 
I signed a contract with Mr. Zukor, of 
the Famous Players. When the script 
of my first photoplay, 'Wildflower,' was 
put in my hands I was captivated with 
it at once, and became quite enthusiastic 
in the interpretation of my part. 

"It may seem strange, but I have never 
felt conscious of the camera while work- 
ing; but later, while looking at the re- 
sults of my work, then I get stage- fright. 

The finished work always comes so far 
short of what I had intended it to be, I 
see so many ways to improve upon it ; 
but there it is before my eyes — mis- 
takes, crudities, imperfections, glaringly 

"It may seem strange, too, that, with 
my wide range of experience in stage 
and picture work, I cant tell which I 
like better ; but I cant. In the'first place, 
the work is so different there is no com- 
parison. On the stage the work is very 
satisfactory because the part is played 
straight thru from beginning to end, 
and there is always the inspiration of the 
audience which helps one greatly. Pho- 
toplays are taken piecemeal — sometimes 



the last scene first. Unless one is familiar 
with every part of the play it is like a 
Chinese puzzle. It is most interesting 
to see the parts put together and the story 
j? brought clearly forth, seemingly 
Jfr from chaos, and to know that it 

twill reach multitudes of people in 
every country. 
y! "If a bov or a girl have talent, 


Pictures or in the making of them, that 
lean suggest, is economy — if such a thing 
is possible. When Motion Picture man- 
agers have learnt their business as well 
as theatrical managers have learnt theirs, 
there will be greater efficiency shown in 
the management of details, both great 
and small, and the results will be better. 
"However, the amount of money spent 

* personality, unlimited endur- 

ance and enough perseverance, 
I he or she should be given a chance 
J to succeed or to get it out of the 
system ; but I never advise it. The 
work is very hard and the discourage- 
ments and various difficulties that arise 
make the way to success anything but a 
bed of roses. 

"One great improvement in Motion 

on many of the so-called 'spectacles' — 
the lavish and unnecessary display — is 
largely the fault of the public. It is 
what they demand. The spirit of the 
age seems to be prodigality, and it is very 
evident in pictures. I have enough faith 
in the picture-loving world to believe that 
the day is coming soon when the majority 
are going to demand sweet, simple stories 
of everyday life and living." 

A Department of Expert Advice, Criticism, 

Timely Hints, Plot Construction 

and Market Places 


Staff Contributor of the Edison Company, formerly with 
Pathe Freres; Lecturer and Instructor of Photoplay Writ- 
ing in The Brooklyn Institute of Arts' and Sciences, also 
in the Y. M. C. A. of New York; Author of "The Photo- 
drama" and "The Feature Photoplay" and many Current 
Plays on the Screen, etc. 


Close Views 



There seems to be al- 
most universal con- 
fusion as to the exact 
meaning of "synop- 
sis" — as applied to the 
Photoplay — with the consequent dissen- 
sion as to what the finished product 
should be like. 

Much of the correspondence engen- 
dered by this department has sought light 
on the exact nature of the Synopsis. 

Nowadays, when practically all pro- 
ducing companies are requesting "Synop- 
sis only" for Feature Plays, a thoro 
understanding of that portion of Photo- 
drama seems all-important. 

Yet, I am here obliged to confess that 
there exists a disagreement among editors 
and producers as to what a Synopsis is. 

When one sends a "Synopsis only,' , 
one naturally sends only a Synopsis. It 
follows that this Synopsis must convey 
one's complete interpretation of a Photo- 

Yet, there are several producers of my 
acquaintance who insist that the synopsis- 
story should be submitted in an arbitrary 
number of words — such as 400 to 500 to 
the reel. 


There are photoplays the essence of 
which can be conveyed in even less than 
100 words to the reel. This is the type 
of play that is strong in dynamic plot — 
in other words, the melodramatic type. 

There are other plays in which 1,000 
words to the reel are insufficient to dis- 
close its potentiality, its charm, its emo- 
tional perspectives, its essential effects. 

The play of predominant character de- 
mands a continuous touch of personal 
expression from the creator of the char- 
acter — the author — that employs many, 
many words. 

The play of comedy-drama necessitates 
treatment in detail — nothing else will do. 

The play of charm — such as Mar- 
guerite Clark, , for instance, interprets so 
well — requires infinite data. 

"But," I protest to editors who object 
to lengthy Synopses, "what will you do 
to my poor play if it I send to you 
incomplete — meaning not fully rounded 
out?" "Why, if we like it," Mr. Editor 
responds hugely, "we return it — and re- 
quest that you put in any missing parts." 

Too true — they would return it — and 
nothing more. 

And if they buy it in its crude form of 
the nude Synopsis? Well, they give it 
to their rewrite man, who glories in its 



nude shame and proceeds to write his 
play based on your idea ! 

That is the point — some short-sighted 
editors are trying to degrade us to the 
level of mere idea-vendors. Having 
dramatic ideas is no accomplishment — it 
is a knack. But to combine ideas in an 
effective dramatic composition called a 
photoplay — ah, that is an art! 

Thus they make us commit hari-kari 
with the sublime notion that we are 
sacrificing to the gods ! 

No, sir — the only way to write a play 
is to complete it. Let somebody else 
complete my play in the matters of de- 
tail, key, pitch, tempo, or what not, that 
I have left out of it, and I find they have 
made a monkey out of my little demigod. 

There are three reasons at least why 
editors and producers do not want long 

First, give the dub leeway of a word 
and he will write a book, in his frantic 
effort to reveal the fact that he has noth- 
ing to disclose. Brevity is not a fault of 
the incompetent. 

Second, all companies now employ 
voracious staff-writers who must be paid 
and fed. They are expert mechanicians 
and can construct a twin-six motordrama 
— with the simple aid of a flivver-idea, a 
monkey-wrench and a few gallons of gas. 
The cute invention wont motivate, of 
course, but the actors work hard pushing 
it along and the operators make the film 
whir across the screen, and many in the 
audience go home and tell their friends 
they have seen a speed demon photo- 
drama down at the Punk Palace Theater. 

Third, they dont like them long because 
they dont like to read them long. Every- 
thing has been speeded up in this end of 
the business to make up for the inter- 
minable dawdling of the stage-setting 

I write my plays just as completely 
as I can vision the entire Photoplay that 
will result. To send it in otherwise is 
like sending in the mere body of the play 
minus its soul. In real life we call this 
corporeal state a "dead one." The com- 
panies think they have the galvanic fluid 
that gives deceased plays life, but they 
are really undertakers of Hope and 
licensed embalmers of Plays — with a 
hurried Funeral Service at the end. 




The problem, and its 
solution, that con- 
fronts the photoplay- 
wright is almost the 
same as that lying be- 
fore the architect — the same pitfalls. 

If the architect should leave the neces- 
sary kitchen out of his plans until the 
builder should discover the error, and 
then try to crowd the kitchen in, the 
perfection of the whole house would be 

Writers often meet with an analogous 
catastrophe, in that they fail to provide 
for some vital contingency of their fin- 
ished play in their plan, or Plot, with the 
result that they have either to rebuild 
the entire structure — which is always the 
better course to pursue — or to follow the 
course of the house-builder, and make 
a botched job of it. 

This is a common experience due to 
poor Plot construction. 

The units of the Plot are the unembel- 
lished units of the Play itself. 

The Plot is the potent organism of 
motives ; the* Play the effective organiza- 
tion of incidents. 

The Plot of the Photoplay must be 

By that is meant that it must comprise 
one complete action. 

In fine, the method employed in ar- 
ranging Plot matter touches upon the 
vital characteristics of the Photoplay 

While the Plot is based on real happen- 
ings from actual life, those happenings 
are rearranged according to the artificial 
requirements of the story or Play in 

Unessential happenings are eliminated ; 
invented details elaborated. 

The Plot ignores facts and caters only 
to fiction — the imagined crises of life. 



Current Plays 

The Fox Film Com- 
pany's success can be 
traced largely to its 
rapid appropriation of 
popular features. To 

Fox's credit, it may be said .that he 

usually puts virility into an erstwhile 

feeble attempt. 

In some instances Fox has failed to 

improve his prototypes. 



One case in particular I desire to 

In "High Finance" we find a far- 
fetched imitation of Douglas Fairbanks. 

About the only phase of the spirit of 
Fairbanks that is approached is the 
super-athletics that George Walsh con- 
verts into parlor diversions. For in- 
stance, if a chair gets in the way, Mr. 
Walsh leaps over it. 

"High Finance'' is a farce played in 
the belief that it is serious drama. 

A wealthy young bounder offends his 
father by spending too much of his ill- 
earned money. The hero then resolves 
to do some high finance. He looks in the 
newspaper and finds an advertisement for 
a guide to a worthless mine his father 
has been exploiting. 

Our hero has packs of stock certifi- 
cates of this very mine. He has his 
valet buy quantities more. He "plants" 
some copper ore, and the mine is boomed 
and his father buys all stock in sight at 
an advance. 

But the way Mr. Walsh overplayed 
this plot in a vain effort to overtake 
"Doug" Fairbanks made the play ridic- 

When we see plays like this, we half 
feel that the Times s critic is right in say- 
ing, "for this is a tale of the cinema and 
not of real life." Reel life and real life 
should be synonymous. 



Clark Rule. — Producers 
want only the Synopsis, 
or the Play-story. 

Phoebe Alien.— I can 
give no information about 

RothvecU. — Make a special study of Plot if 
that is your weakness. The only two books 
on that subject are "The Plot of the Story" 
and "The Plot Catalog" (Stanhope-Dodge, 
Larchmont, N. Y.). 

Laveson. — The only way to interest Com- 
panies in you is to interest theni in your work. 
Keep up your courage and keep writing. 
Your story is a duplicate of my struggle. 

Laase. — Contests at best are poor comforts, 
and I make it a rule to keep out of them. 

M. E. M. — Scenarios cannot be copyrighted. 
Get "The Photodrama" (Stanhope-Dodge Co., 
Larchmont, N. Y.). I will insert a list of 
reliable companies in the near future. 

Hansen. — I cannot vouch for the reliability 
of advertisers. Sell your own material. You 
do not have to put stories in scenario form. 
O. H. Hoyt is not the author of "A Black 
Sheep." I should advise any one against in- 
vesting in film company stock. Titles are 
trite. Your letter shows comedy talent. 

As a practical supplement to Mr. Phil- 
lips' series of articles on the Photodrama, 
it will greatly aid our readers to read 
"The Photoplaywrights' Primer," by L. 
Case Russell. This little book goes right 
to the roots of photoplay requirements, 
and is the slow-gathered experience of a 
very successful photoplay writer. We 
will supply the Primer for 50c. postpaid. 
— The Editors. 

Mince-Meat Movies 


I think it was that mince-meat that I ate — it An awkward little girl, was from an unknown 

must have been, country town. 

For such things as I dreamed last night on Pearl White, the brave, was just a timid, 

earth were never seen : trusting little maid, 

The garden where I dreamed I was had And sprightly, tiny Marg'rite Clark a matron, 

Cooper-Hewitt lights, old and staid ; 

And there I saw the funniest of any picture The villain Holmes a hero, Harold L. a circus 

sights, clown, 

For "Little Mary" Pickford had lost every And Margery Daw a wicked queen of very 

child-like charm — great renown. 

A weird and wily vampire, she intended only Charles Chaplin was a Romeo ; Arbuckle, 

harm. Juliet ; 

And wicked Theda Bara was a curly-headed Bill Farnum was afraid of things, and "Dust" 

child, a marionette ; 

As sweet as she was beautiful and good as Francis X. a lumberjack — and many such a 

she was mild, thing 
Most frightened by great villainy — no one That set my heart a-beating, and my ears be- 
but Wallace Reid's, gan to ring. 
Who hurt the innocent young girls by many Long reels of film unwound — rewound — about 

lawless deeds. my dizzy head, 

And Mrs. Vernon Castle, who, without a A crash, a dash, an awful clash — and I woke 

Lucille gown, up in bed. 

He Never Knew 


The outside door of the Selig office in Chicago 
was pushed slowly open and a man of most 
ungainly figure entered. He was tall — un- 
usually so. His face was gaunt, homely, and yet 
attractive ; his expression gentle and kind. 
He advanced with hesitating steps, and 
stooped to rest one hand upon the railing that 
separates the waiting-room from the office 
proper. One of the office girls approached. 

! I wonder now," the man asked, 
with a soft Southern drawl, 
"If I could speak to 
Colonel Selig?" 
While it seemed highly 
improbable that 




you. What have you done in the way of 
acting, and what makes you think that 
you can play the part of Lincoln ?" 

"I have nothing to tell you about my- 
self," the visitor replied. "I know I can 
play the part of Lincoln, because I have 
always idealized him. I have made his 
character the study of my life. I have 
lived where Lincoln lived. 

"I have visited the old Lincoln cabin, 
where Lincoln, as a boy, spent hours at 
night studying by the firelight. I have 
visited all of his haunts. Thought of him, 
read of him, and — loved him. I have been 
told that I look much like him. I want to 
give, as my donation to the world, a true 
characterization of this man of men. I 
want to live, on the screen, the life Lin- 
coln lived in reality. I want to give Lin- 
coln back to the American public, and I 
reckon I can do it!" 

The Colonel looked at the earnest man 
with interest. There was no doubt of his 
resemblance to the Great Emancipator. 
He could look the part, surely, but — could 
he play it? 

"My friend, I have been holding up a 
half-million-dollar production for weeks, 
hoping to find a man who could look and 
act the part of Lincoln," said Colonel 
Selig. "You undoubtedly look like Lin- 
coln, but looks are not enough. I must 
have a man who will depict the character 
in a worthy manner. I can take no 

"Well, sir, I reckon I can do it!" 
quietly replied the stranger. 

And — he did! 

All during the production of this story 
of the Southland, the man who loved 
Lincoln re-lived his idol's life. 

He was the shrewd Lincoln in the Lin- 
coln-Douglas debate, and again he was 
Lincoln, the man of patient sympathy, 
who listened kindly to the story of a wife 

He was Lincoln, the thinker, meeting 
with his cabinet, and Lincoln, the man 
of sorrow, who placed his gentle hand 
upon the brow of the negro slave. 

He gave us Lincoln in all of his moods. 
We lived with him, all over again, the 
battle of Vicksburg and the fall of Fort 
Sumter. We felt his great heart ache at 
the injustice of the slave-market. 

We saw his resolution, his sympathy, 
his tenderness and his strength, and we 
thank the man who loved him well enough 
to give us this characterization so truly. 

His reward came in re-living the life 
of his hero. He did not live to see what 
he had accomplished. 

Lincoln is no more, except in the hearts 
of the people. The man who gave us this 
wonderful characterization is no more. 

If you ask about him at the Selig 
studio, they will tell you that little is 
known about him outside of the fact that 
his name was Sam D. Drane and he was 
a Virginian. 

He lived the part of Lincoln in "The 
Crisis." He died before the picture was 

That he had given the world one of the 
greatest characterizations of all time, he 
never knew. 

M M M 

A Moving Tale 


"The man I wed," the maiden said, 
"Must look like Wally Reid 

And dress like Carlyle Blackwell — 
In natty serge and tweed. 

"And he must be athletic. Gee! 

I hate a chap who's weak; 
I think that I'd prefer some one 

With Bushman's trained physique. 

"And if he win my heart, his grin 
Must be like Fairbanks', too; 

The kind that's cute but crinkled, 
And warms you thru and thru. 

"And any man, of course, who can 

Make love like Dustin, say, 
Would offer more inducements 

For me to name the day." 

And then, forsooth, a plain, grave youth 
(Physique like frail young saplin's) 

She wed because she heard his pa's 
Net income equaled Chaplin's. 

jr %- 






'V^- ■' ■■■■■ Ljtxro/Jqee sh&M 

In Which Is Related the Really-Truly Fairy Story of Two Good 

Little Girls in the Movies 


Once upon a time, there were two T | 
little girls who worked to- 
gether. They were nice little 
girls, and pretty — oh, so pretty ! Yon k. 
see, they had to be both nice and jfe 
pretty, and very, very clever, for they 
worked for a man who was very 
strict. They danced *in the 
Ziegfeld 'Tollies," and Mr. 
Ziegfeld didn't like for his 
girls to stay up to all hours, 
appearing at rehearsal tired 
and worn out. 

And the two little girls were 
Mae Murray and Ann Penning- 
ton. With such good, old- 
fashioned names as Mary and 
Ann, they couldn't help but be 
wholesome, fun-loving, good- 
natured girls, who were popu- 
lar with their associates, and 
immensely popular with the audi- 
ences before whom they danced, 
afternoons and evenings. 

The way in which "Mary" be- 
came "Mae" was this : Having 
grown quite popular — sufficiently 
so to have her name on bill- 
boards and ash-cans — Mary 'de- 
sired larger type. So she boldly 
demanded it. 

"Cant do it," said the Pub- v 
licity Man. "Your name is too 
long — if we put it in larger type 
we cant get it in the space left 
for it." 

"Then," said Miss Murray, 
quite firmly, "make it Mae, instead of 

And, hearing of this a few days later, 
"Anne" Pennington became "Ann," and 


Xy the girls gloried to- 
gether in their little 
scheme for more publicity. 
A little later, as both the girls 
had made a huge success, Mr. Ziegfeld 
discovered that he had two perfectly 
good little stars on his hands, whereupon 
he gave them "solo" dances. 



While Mae's popularity was at its Westward, inconsolable at being parted 
height, a nice man appeared before her, from her chum and confidante, Ann. 
offered her a contract, indicating with For a time Ann moped around and 

his fountain-pen where the "Mae Mur- refused to be consoled. And just at this 

time, a certain young 
man — a mysterious 
stranger-sort of per- 
son — with a string 
of motors, a town- 
house, a villa at 
Newport, and all the 
rest of the Sunday- 
supplement belong- 
ings of the ultra- 
rich, failed to find 
anything amusing in 
the "Follies," or any- 
thing nice about 
New York. 

Then "To Have 
and to Hold," Miss 
Murray's first pic- 
ture, was released. 
Thrilled and excited, 
the strange young 
man and 
Mae's chum 

r a y 
should be 
signed. He 
was engag- 
ing her for Motion 
Pictures at the Jesse 
L. Lasky studios in 
Hollywood. At first Mae 
hesitated, but she had been 
in the "Follies" four years, 
and California sounded allur- 
ing. Also, Mae and Ann had 
spent the greater portion of 
their spare time attending the 
when something more exciting 
offer. So she capitulated, and 





sat m 
the dark- 
ened theater 
watching the 
shadow of the 
girl they both 
loved flitting across 
the silver screen. And 
their excited letters of 
congratulation were answered 
enthusiastically. Mae loved 
California, and the bungalows, 
and the movies. She didn't 
care if she never saw New 
York again. Whereat the strange young 
man and Ann sighed pensively. 

About this time, Mr. Ziegfeld decided 



on a novelty for the new "Follies." It 
was to be a Motion Picture travesty, and 
"Little Ann" was chosen to play "Mary 
Pickem." Before it was half over, cer- 
tain silk-hatted gentlemen were seen 
to rise hastily and exit stage-door- 
wards. But the first person 
to reach Ann was the emis- 
sary of Mr. Zukor of 
Famous Players, and 
when other silk-hatted gen- 
tlemen had arrived, he was 
smiling like the cat 
that ate the c; 
nary, while he V K« 
ostentatiously jffS&h**^ 
fanned a 
brand - new 
about, in an 
attempt to 
tirv the 

ink on 
that firm, 
round little 

But this didn't 
bring Ann and 
Mae together at 

Miss Murray was asked if she could be 
ready to leave for New York by the next 
day. She gave a shout of glee, and 
rushed to the telegraph-office, where the 
wires crackled merrily towards "Little 
Ann" and the strange young man. 
"The Big Sister" and "Little 
Ann's" "The Rainbow Prin- 
cess" were being 

§® 1 * 

r + w^ same tu 


once. In the 

meanwhile, Ann was beginning work on 
"Susie Snowflake," and Mae had finished 
"Sweet Kitty Bellairs," was half-thru 
"The Dream Girl," and the scenario de- 
partment was working nights on "The 
Big Sister." When that was finished, 


same time. 
There were 
lovely shopping 
trips, when neither 
was needed at the 
studio, a n d they 
visited "back o' the 
scenes" at the "Follies" just to get the 
smell of musty air and grease-paint once 
again in that enchanted realm. There 
were also numerous dinner and theater 
parties with the strange young man, and 
lovely Sunday trips in one of the motors, 



or on the river in one of a fleet of yachts. 

But all good times must end, and this 
one did. Mae went back to California 
and Ann went back to the "Follies." 
tho still working day-times in the studio 
of the Famous Players. 

But the sudden trip of his divinity 
had been too much for the strange young 
man, whom we may now introduce, with 
a fanfare of trumpets, as Mr. Jay 
O'Brien, of New York, Newport and the 
Adirondacks. He suddenly packed his 
suit-case, and caught the Golden State 
Limited, headed for Los Angeles. Here 
his patience and devotion finally won its 
reward, and just about Christmas-time 
Ann received a telegram announcing the 
wedding of her chum and Mr. O'Brien. 

And there you have the history of two 
very good little girls, who danced their 
way to success and popularity and fame 
— and the new Mrs. O'Brien to wealth 
and a gilt-edged position in New York's 

upper ten, if she cares for it. Want some 
biographical data about them ? Oh, very 
well ; it's like trying to chain butterflies, 
but we'll try it. 

Mae was born in Louisville, Kentucky, 
and her ancestors have been governors, 
congressmen, and, of course, colonels. 
She is even prettier off the screen than 
on it, for she has soft, sunny, golden 
curls, and big, heavy-lidded, blue-gray 
eyes. She is five feet two in height. 

Little Ann is one inch taller than Mar- 
guerite. Clark, and weighs two pounds 
more. She is a dark-haired, dark-eyed 
daughter of the North, claiming Penn- 
sylvania as her home. She first attained 
honors as a dancer when she was three 
years old (at the age when most of us 
are crawling about and swallowing 
Daddy's collar-buttons) in Philadelphia. 

And here's to 'em — the pretty little 
things ! Long may they flourish and be 
happy, as they have made others happy ! 








"Extra Ladies and Gentlemen" 


of "Vanity Fair," London, Eng.; Editor of "The Photoplay Review" 
(Continued from the July issue) 

[Editorial Note. — The following lively series of articles was written for the Motion- 
Picture Magazine by the witty and fearless English dramatic critic whose reviews of 
London plays were for years a leading feature of Vanity Fair, The Era, What's On, The 
Tribune and other well-known London theatrical and daily papers, under the popular 
pseudonym of "Yorick." He is the author of several London stage successes, two of 
which he has just adapted for screen presentation. While working as an "extra" to get 
"atmosphere" for this series of articles, however, Mr. Bickers was quickly recognized 
by an old-time friend, Miss Fannie Ward, whose discerning eye spotted her former 
London critic thru a character "make-up" which would have deceived any one with a less 
acute memory for faces and — criticisms. The reunion, said "Yorick," was as happy as 
were the memories. Which makes it almost superfluous to add that Air. Bickers is an 

Forms axd Photographs 

The method of registration at these 
studio employment offices is very much 
the same as that used at domestic em- 
ployment agencies, and still more like 
that used for identification records in 
police stations. Each applicant for work 
has to fill in a form, giving his name, 
address, telephone number, age, height, 
weight, color of hair and eyes, particu- 
lars of last stage and screen engagements 
(if any), amount of personal wardrobe, 
and whether he can ride, drive, swim, 
dance, etc. These index cards are classi- 
fied alphabetically or according to type, 
and whenever the applicant seems likely 
by reason of personality or past expe- 
rience to prove useful, a photograph of 
him is attached to the card. This be- 
comes, as a rule, a severe tax on the 
slender purse of the "extra,"' or the new- 
comer, trying to get in, while it is very 
problematical whether the photograph 
left will, ever be looked at again. He 
can, of course, recover it on application 
if it has not been lost (I should say mis- 
laid^, but as a rule he makes up his 
mind to kiss his dollar portrait good- 
by. When I first broke out into the 
cinema rash, I retained enough prudence 
to offer a few-good amateur "snapshots" 
in lieu of the professional prints. These 
are more useful than the expensive and 
elaborately mounted prints, as they give 
a better idea of how one actually photo- 
graphs, without the use of "make-up" 
or a photographic "touch-up." More- 
over, these can be attached more easily 


to the cards, and i-f lost, can be cheaply 
and easily replaced. In the cases of 
those who possess no real qualifications 
— even good looks or distinction in type 
— they generally content themselves with 
taking one's name, address and telephone 
number. The first two particulars are 
matters not so much of courtesy as of 
common decency, while the telephone 
number rings up that hope which "long 
deferred maketh the heart sick." 

A City of Cinemaniacs 

The supply of "extras" will always be 
greater than the demand in Los Angeles, 
where there is a population of over 
500,000 cinemaniac souls, to say nothing 
of a number of Mexicans. You have 
of course been told by your local poli- 
tician that "figures do not lie," but — liars 
sometimes figure ! Nevertheless I may 
venture the assertion that out of this 
Los Angeles' half-million inhabitants the 
Motion Picture business, in one form or 
another, employs just five hundred thou- 
sand souls — and every Mexican. This 
sounds like Munchausen in the movies, 
yet I believe it is the genuine and un- 
adulterated gospel truth. There are 
between seven and eight thousand resi- 
dents (or hope-to-be-residents) of Los 
Angeles who make acting their sole 
vocation, but of the remaining 493,000 
of this cinemaniac multitude it is at least 
the avocation. You may arrive in Los 
Angeles ignorant or indifferent to the 
fact that it is the "place where the movies 
are made," but you'll be made an 



"involuntary extra" before you have been 
here long. There is no escape. The 
ubiquitous camera-man is everywhere. 
He ''shoots" you on the street or in the 
cellar, on the beach or in your bath. 
Sometimes he asks your leave before in- 
vading your home, but every day some 
one arrives home to find a crowd around 
his door. His first thought, probably, is 
that the bailiff has at last arrived. He 
pushes his way thru the crowd, falling 
on one or two actors or actresses before 
he discovers the camera-man, hidden in 
a corner of the room, or hanging from 
a clothes-line or from a tree in the gar- 

become bloodless with sheer cinemia. I 
think the low death-rate of Los Angeles 
is due as much to its cameras as to its 
climate. You either leave after the first 
shock you receive, or you become shock- 
proof. Xeurasthenia in Hollywood is al- 
most unknown. You can never remain 
serious long enough to get really worried, 
and while you may want for money you 
can never want long for employment. 
The camera-man will get you in his grind 
somehow — somewhere — sometime. 

My Cinematic Baptism 
I had been in Los Angeles only a day 



DATE t*L<C : A* ^Ll9 *7 

NAME nd^L4Vt^^^(^jC 



Age 35 

Height S* /?* Hi^UCS: 

Weight /5<3 

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den. Downtown in the business district 
it is just the same. An attack in the 
street, a fracas with a policeman outside 
a saloon, the hurried moving of traffic 
to make way for a fire-alarm with an 
engine-load of wildly gesticulating souls 
in torment and uniform — all mean 
"merely the movies." You need never 
want for excitement in America's great 
Carnival City on the Pacific. 

The life of Los Angeles is full of thrill- 
urns and "fil-ums." You soon become 
sterilized against all sights and shocks. 
You are petrified by photography. You 

or so when I was called upon to play 
my first part for the movies. It was 
decidedly an "extra bit," and the per- 
formance was both unconscious and un- 
paid for. I was strolling- along the side 
of the lake in Echo Park just opposite 
my house, when I saw a sight that made 
my Irish circulation rise as high as that 
of the Saturday Evening Post. A girl, 
pursued by a rough-looking man, rushed 
blind with terror into the water. Before 
he could reach the bank I was at him 
and on him. A straight left on the nose 
and a right hook to the jaw made him 

i mi iiii . ii miii i n i B i JLiirmwTTnnm i 



perform the fall of his life, as he grabbed 
at me wildly and brought me over on top 
of him. Before the rest of the company 
could reach us, the unfortunate "heavy 
man'' was several ounces lighter, from 
loss of blood, and I was hunting for a 
crowned tooth which had slipped out of 
my face into the lake, as I turned to 
jump after the girl who was now holding 
onto the bank helpless with laughter. 
W nat followed for the next few minutes 
has permanently enriched an unusually 
wide vocabulary, gleaned in all sorts and 
conditions of countries all over the world, 
since I had my first "extension lessions" 
from the towing-path of the River Cam 
at Cambridge University. However, the 
humor of the situation seized them as 
the hemorrhage stopped, and the camera- 
man came up with a broad grin and said : 
"Oh, h— 1! That'll make bully stuff. 
Let's take it again!" "Nix on any re- 
take for me," said my fallen friend, "we 
might have too much of a good thing." 
That incident turned my thoughts from 
the contemplation of scenarios that 
wouldn't sell to the possibility of action 
that would. In forty-eight hours I wrote 
two scenarios that would sell — and did; 
and with the proceeds I spent three 
weeks learning the art of loafing in the 
so-called "Employment Offices" of the 
largest and best companies with the 
smallest and worst accommodation for 
the strangers without their gates. 

Waiting for "Extra" Work 

Both the accommodation provided for 
"extras'' and the method of handling 
them vary at the different studios. In 
one thing almost all are alike ; that is, in 
keeping applicants for work waiting so 
long that it is scarcely possible to visit 
more than one studio on the same morn- 
ing or afternoon. While the hundreds 
that throng the waiting-places inside or 
outside each of the large studios make it 
impossible to handle them expeditiously, 
the amount of time wasted at most places 
is greater than the amount of time spent 
in receiving them. But. in the art of 
wasting time, the methods of studios 
make one a connoisseur. The method of 
employment is more or less the same at 
every studio, tho in some the directors, 
and particularly the assistants, still select 

their own "irregulars.'' This custom is, 
however, rapidly giving way to the one- 
man method. Formerly some assistant 
director would come round from time to 
time to select the types they require each 
day for their own pictures, and the direc- 
tors themselves were buttonholed and 
"badgered'' whenever they were seen. 
Xow, however, most of the studios have 
fallen into line in turning over all the 
work to their employment manager. 
Xotices are now posted in the studios, 
warning applicants against soliciting 
work from any of the directors or other 
officials, under threats of permanent re- 
fusal for any such action. This injunc- 
tion is perhaps honored more in the 
breach than in the observance, but on the 
whole it has proved a sufficient deterrent 
to make the director's life a little more 

One can now breathe quickly, if not 
freely. Some of the bolder ones among 
us are venturing to walk alone occasion- 
ally, and the most reckless have even 
been seen loitering near a telephone ! 
The marvels of motography have not all 
been in the photographic department. 
Even in the kindergarten department of 
"efficiency," some symptoms of progress 
are being developed by these high- 
salaried experts, whose life is just one 
long cigar after another. The inventive 
and organizing genius of these gentle- 
men has not yet lightened the lot of- the 
"extra." They are still bringing up the 
coming generation in the policy of 
"watchful waiting," tho some of the 
watches have gone long since to buy food 
until the waiting period ripens into a 
day's work. Still the Great Army of the 
Unattached falls into line soon after 7 
a. m. and remains standing until one by 
one they receive the sign of the smile and 
the password, "Xothing doing today." 
Some days they find a notice posted upon 
arrival: "Xo Work Today." Then they 
all "depart in peace," instead of depart- 
ing in pieces. Xow and then the boldest 
and the most pertinacious obtain a few 
moments of sympathetic conversation 
with the employment director thru the 
wire-covered window which alone pro- 
tects the job-giving Job from the hungry 
womenagerie without. Xow and then, 
too, pluck or luck will end in zuork. But 



to most the weary "walk-and-wait" goes 
on down a blind alley of desolated days. 

Job-Giving Jobs 

In the matter of patience, the employ- 
ment director has it over the "extra" 
every time. As the old comic song 
savs : — 

minal, can really appreciate the trials of 
the Motion Picture employment director. 
Even these harassed individuals are not 
sought after for work. The telephone 
operator's torment can be cut short by 
electricity ; the railroad information 
clerk's by impatience. There is no such 
escape for the poor M. P. E. D. He can 
rely neither upon im- 
patience nor electric- 
ity. Nothing' 
short of electrocu- / 
tion will 



Talk about the patience of Job! 
Job had nothing to worry him. 

If Job had ever been an employment 
manager in a Motion Picture studio, he 
might have had something to worry 
about. With the employment director, 
patience is not a virtue, but a habit; and 
after fifty, even virtue may become a 
habit ! 

Only a telephone operator at Central, 
or the information clerk at a railway ter- 

save him. Even then the "extras" around 
the studio would hold a post-mortem on 
his remains, and the "coroner's jury" 
would return the Scotch verdict of "Not 
proven." No! the M. P. E. D. must 
be not only of long-suffering, but of great 
goodness. He must be all things to all 
men, and nothing to any woman. He 
must be a Gabriel and a Michael rolled 
into one. That is probably why most of 
the studios' employment directors today 
are — women. The Motion Picture has 



accomplished much, but it has not yet 
produced a male Madonna ! 

Studio Children — and "Some" 

The reasons for employing women in 
this capacity are not far to seek. A 
large majority of those applying for 
work at the Motion Picture studios are 
women. Many, indeed most, of these are 
young women. The men required are 
recruited mainly from the ordinary em- 
ployment agencies, when any large num- 
ber is required for battle-scenes or other 
spectacular purposes. These "irregulars" 
in the photodramatic army receive "a 
dollar a day and grub." They are, as 
might be expected, a very "mixed 
bunch," of whom I shall have something 
to say later. The daily throng around 
the studios is composed mainly of 
women; many of them little more than 
children, others with children. These 
range from three years of age up. Some 
of them are ordinary children of poor 
anxious mothers. Others are extraor- 
dinary pigmies of infantile precocity, 
whose mothers are foolish enough for a 
lunatic asylum or callous enough for a 
term in the penitentiary. The latter will 
expose their children to dangers which 
one would believe none but those morally 
degenerate or mentally deficient could 
be capable of. I need mention only one 
case of a mother whose child would 
have been suffocated as it lay in its cot 
during a fire if it had not been noticed 
by the director. The scene was one in 
which a fire is supposed to break out in 
the room where the baby is lying in its 
cot. After one or two trial "shots" the 
child was choking from the fumes of the 
flames and "smoke-pots" used to add to 
the effect of the fire. The director, on 
account of something that was wrong, 
ordered another retake. The mother, 
without a word, immediately placed her 
choking baby back in the cot. For- 
tunately the camera-man drew the direc- 
tor's attention to the infant's suffering, 
otherwise the child would have been 
killed. As it was, the director of course 
stopped the scene, and, himself attending 
to the child, told the mother never to 
report at that studio again. I have seen 
other instances of callousness on the part 

of these mothers which were little less 
short of criminal cruelty than the case I 
have cited, and which have almost to be 
seen to be believed. Nor, save possibly 
in one instance, have these mothers been 
women in actual want. In the main, 
however, the children employed in the 
"Movie Camps" are well cared for ; and 
where their own parents are unable to 
be with them all day, the studio has 
always a thoroly trustworthy woman of- 
ficial in the mother's place. One at least, 
of the larger studios, maintains a regular 
school for their little actors and actresses, 
where they receive daily instruction 
when they are not actually at work on 
the pictures. This studio, until recently, 
had an entire company of child actors 
under the direction of Mrs. Lule War- 
renton, a very sweet and able woman, 
who is now organizing a company of her 
own for the exclusive purpose of pro- 
viding plays for, and acted entirely by, 

Where Is That "Studio Mother"? 

There is no real moral peril in the 
employment of children in the Motion 
Picture studios. Whether the environ- 
ment is desirable is another matter. 
While it is impossible to segregate the 
children altogether, they are far better 
cared for while working under the 
studio's supervision than they would be 
in some of their homes, if one may judge 
from the way they are paraded by their 
mothers, and dressed up to resemble 
bisque dolls. The moral dangers that 
beset those engaged in studio life, lurk 
rather around those scarcely grown-up 
girls who, attracted by the success of 
others, come expecting to achieve a sim- 
ilar success without experience or any 
of the qualifications necessary. The 
public loves pulchritude, and these mis- 
guided young people may — and many in- 
dubitably do — pay the penalty. For this 
the Motion Picture producers can scarce- 
ly be called to blame. They would just as 
soon — indeed, they would rather — en- 
gage for their juveniles young men and 
women of greater maturity and dramatic 
experience. Such would yield better re- 
sults with less worry. But the public 
demands youth, and — it is easier to grow 
old by experience than to become young 



by art ! At the same time, I think it 
must be admitted that some of those en- 
gaged in the production of Motion Pic- 
tures are all too ready to give pulchritude 
preference to personality, with results as 
disastrous to those thus preferred as to 
the public and to the productions. 

In an article by Mr. Robert Wagner 
on the Moving Picture industry, which 
was published in a weekly contemporary 
a little over a 
year ago, in 
writing of the 
undesirable re- 
lation ships 
that had re- 
sulted from the 
letters of fool- 
ish women to 
their film fav- 
orites, he said 
that these prob- 
lems had been 
solved in a 
measure by the 
employment of 
a ''Studio 
Mother." Ac- 
cording to this 
writer, "no 
girls other 
than recog- 
nized actresses 
are engaged 
except thru 
her (i.e., the 
Studio Moth- 
er). Directors 
and actors can 
no longer em- 
ploy any fool- 
ish young girl 
who happens 

to take their fancy." This will, I think, 
be news to those engaged or in any way 
acquainted with. studio life. Where are 
these admirable women — these "Studio 
Mothers"? There are mothers at every 
studio. There are those who hope to be- 
come mothers, and others again who 
hope not ! But where is Mr. Wagner's 
''Studio Mother"? I have been asso- 
ciated with four of the largest studios in 
Hollywood and Los Angeles, and am 
acquainted with almost every other of 
the sixty or seventy producing companies 


in this "Mecca of the Movies." In nearly 
every one there is some elderly, expe- 
rienced actress who is probably known 
as "Mother" by the boys, but none of 
these members of the various stock com- 
panies, so far as I know, correspond to 
this mysterious mother of friend Rob's 
photodramatic fantasy. For he proceeds 
to tell us : — 

This mother becomes very alert in sort- 
ing out the friv- 
olous, romantic 
youngsters from 
the girls of real 
talent and seri- 
ous ambition. 
After they are 
employed they 
are chaperoned 
from morning 
until night, and 
must constantly 
report when off 
duty. If a di- 
rector wants 
extra girls, he 
sends to the 
studio mother 
and she assigns 
the best one 

We have re- 
c e n 1 1 y been 
thrilled with 
the cry 
"W here Are 
My Children?" 
Now, it is up 
to Mr. Wag- 
ner to tell us 
"Where Is My 
Mother?" I 
think the 
Studio Mother 
must be dead. 
She was too 
good to live! 
The real mothers of the cinema-crazy 
children who are to be seen haunting 
the studios, day after day, with their 
precocious, or merely stupid, offspring, 
present some curious studies in personal- 
ity to the psychologist. No child is too 
ugly or too mentally backward to be re- 
garded by these women as a potential 
"star." For the poor little mites, 
arnicteH with such vanity-blinded or 
mercenary mothers, the most indifferent 
observer can have nothing but pity. 
{To be continued in the September issue) 


4 'Lady 


Weren't you glad when you learnt 
that Marguerite Snow — Lady 
Marguerite of the ''Million Dol- 
lar Mystery" and "Zudora" — was coming 
back to the screen ? I was ; and when I 
found a white slip on my desk reading 
''Interview Marguerite SnOw," you can 
imagine my joy. Hastily I donned my 

coat and hat, fearing that the Editor 
would change his mind and want some- 
body else to secure the coveted chat, and 
plowed happily thru the snow to the 
subway. Going over to New York 
from Brooklyn, I was so happy that I 
positively purred, cat-like, with pleasure 
at thought of the treat in store for me. 




Of course you know that Miss Snow 
is making her return under the aus- 
pices of Artcraft Pictures, oppo- 
site George M. Cohan, in his 
first picture venture, "Broadway 
Jones"? Well, then, you know 
as much as I did when I reached 
the Fifty-ninth Street studios. 
"Miss Snow?" said the grizzled 
but kindly doorkeeper (doorkeep- 
ers are alzvays "grizzled," but not, 
be it known, always "kindly"). 
"Yes, she's around here some- 
where." And we started off* so- 
ciably to look for her. Just as we 
neared a set representing an office, 
we heard a childish treble : 

"Forty-five minutes from Bro-o-ad- 

Forty-five minutes from town-n-n" 

— and. with heightened curiosity, 
we peered around a corner of the 
"flat," seeing something that made 
us pause. 

Before us, on the floor of the 
studio, knelt Miss Snow — lovely , 
Peggy, only much more 
beautiful than of old 
— holding in her 
^ arms a 

Photo by A pen a 





ruddy-cheeked kiddy of, perhaps, three 
years. Opposite the two, and intensely 
interested, knelt — it couldn't be, but it 
was ! — George Cohan, the man who cap- 
italized the American flag. And he was 
listening eagerly to the small girl sing 
"Forty-five Minutes from Broadway." 
And never did proud composer listen 
more flatteringly to the notes of sopranos 
with fabulous salaries and golden voices 
than this one listened to a little child's 
warbling efforts. 

Later, when the business of introduc- 
tions was over, and Miss Snow, having 
permitted her small daughter, Julie Snow 
Cruze, to examine the ''funny little black 
box," that was the camera, and the small 
person had been tenderly wrapped against 
the cold and turned over to her nurse, 
I was free to secure my interview. 

"It has been so long since we have seen 
you on the screen," I suggested. 

"I have been so busy," she apologized, 
her brown eyes lighting joyously as at 
some happy recollection — "so busy just 
living that I haven't had time to act. 
Julie takes up so much of my time — and 
babies are such fascinating things. At 
first I tried to keep up my work and 
bring her up properly. But I found that 
I couldn't. I hated to leave her all day, 
and we picture-people have so little time 
for ourselves. So I gave, up the business- 
of being an actress in favor of the busi- 
ness of being a mother." 

And the happiness of her — the whole 
air of youthful, bubbling good spirits of 
her, proved that she had found this 
second "profession" fully as exciting and 
even more engrossing than the first. 

"Jimmy and I" (Jimmy being James 
Cruze, if you dont know) — "Jimmy and 
I rented a darling place in the country, 
not too far from the city, and there, with 
Baby, we just retired like hermits, and 
lived the 'simple life' with a vengeance, 
and got acquainted with each other and 
Baby. It was a wonderful time." And 
again her brown eyes grew dreamy. 

"And now?" I hinted, gently, to bring 
her back from her reverie. 

"Oh, now I shall play Josie Richards 
in Mr. Cohan's play, 'Broadway Jones,' 
and then — well, I'm going to Toronto, 
with the Canadian National Features 

"If the country was so fascinating, how 
did you ever persuade yourself to come 
back — and work?" I demanded. 

"Well, I was afraid I would forget how 
to act if I stayed away much longer," 
she returned, beginning, with an apology, 
to remove her make-up ; "and it was quite 
a temptation, too, to work opposite Mr. 
Cohan in his first picture. Really, I con- 
sider him one of the most remarkable men 
I have ever met. Fie has a really unique 
personality, and he is going to be one of 
the big — really big — men of the business." 

"Oh, Lady Snow, Lady Snow!" I pro- 
tested, wickedly. 

"Oh, I know that sounds like 'press- 
agent stuff,' but it isn't, honestly. We 
are all quite mad about Mr. Cohan and 
he's splendid to work with, so nothing 
we can say about him sounds extravagant 
— in our own ears, at least!" And with 
that she slipped out of the pongee blouse 
and the tailored skirt of Josie Richards, 
slipping into a stunning velvet street-suit 
of a wondrous wine-color, heavily banded 
in kolinsky. 

Should you care for statistics and other 
dry-as-dust facts, Milady Marguerite was 
born in Savannah, Georgia. And maybe 
that proud, fair city doesn't boast of this 
lovely daughter ! Every time one of her 
pictures goes there her name is plastered, 
in three-foot letters, the length of town, 
and Broughton Street immediately takes 
on a festive air. She was educated at 
Loretta Heights Academy, making her 
stage debut at an age when most girls 
are wondering whether they dare 
lengthen their skirts another inch and 
are filling with anxious (and foolish) 
letters the local "Advice to the Love- 
Lorn" column. After five years behind 
the footlights, she deserted them for the 
movies. And there she has been since. 
On the stage she played with the original 
company of "The Devil" ; was with 
Thomas Jefferson in "The Other Fel- 
low," "The Road to Yesterday," and 
many others of equal or greater note. 
Coining to pictures by the door opened 
to her at New Rochelle by Thanhouser, 
she did splendid work as the wicked 
Countess in "The Million Dollar Mys- 
tery" and the title part in "Zudora." 
From Thanhouser she went to Metro, 
where her best work was in "Rosemarv 



— That's for Remembrance," "A Corner 
in Cotton," "The Second in Command/' 
and others. Followed retirement, and 
then — Artcraft and "Broadway Jones." 

After this is finished, who shall say 
what? Our heroine has fled across the 
border. And with such comfort we 
who remain will have to be content. 




A Game of 'Taking Chances" 




There is probably no line of endeavor 
in the world where ''Safety Last" 
prevails as in the Motion Picture 
business. In this, as in no other field, 
must the danger actually be entered into 
by the actor or actress — Moving Picture 
workmen — taking chances being the very 
life of the pictures and one element which 
is responsible for the existence of the 
Motion Picture "game." Many effects 
are ''faked," it is true, but even in the 
instances where this occurs it is very 
often that the actor or actress comes so 
near to the "danger mark" as to make 
the scene a little uncomfortable for the 

The accompanying illustration shows a 
man and horse making a 45-foot drop 
from a specially built platform into a pool 
of water — and x this is not beino- faked. 

The idea of the picture is that a gang 
of bold, bad bandits chase this actor, the 
hero, who is riding horseback, out upon 
this trick platform, and after he has left 
the solid ground in this "opening in the 
hills" the trap is sprung and the "victim" 
and his steed are plunged into the pool 
beneath, which fall, the bandits believe, 
will, pictorially, end the man's life. In- 
cidentally, it almost in fact did, for the 
actor was for several weeks confined to 
the company's hospital with a wrenched 
back. As there was considerable "close 
up" work in the remainder of the play 
in which it was impossible to substitute 
another actor for the injured man, the 
making of the remainder of this picture 
naturally had to wait until the "crip" 
could get back into the saddle as well as 
"into harness." 


Gail Kane — Twin Star of Stage and Screen 

Six seasons ago Gail Kane's deep hazel orbs and burnished red-brown hair were discovered and "played up" by the spot- 
light artillerist in the theater gallery — today these same snares are binding the camera-men in the studios. Her Thespian 
career has been remarkable — Broadway favorite and studio star in bewildering alternation — from "The Harp of Life," 
at the Globe Theater, N. Y., to the American Studio, in Santa Barbara, is her very latest adventure. 


Grace Cunard, who was born in Paris, inherits her name from a French father, and her independent spirit from an 
American mother. She is the authoress of hundreds of scenarios in which she has starred. She is an all- 
around sportswoman and has a quaint fad — collecting dolls of all nations. Her kennels house 
many blue-ribbon winners, of which this snappy-eyed Pekinese spaniel is the prize pet. 








To begin with, let me 
say that there are 
many things more 
excruciatingly funny than 
chasing the elusive photoplay 
thru the wild uncut. Among 
these I might mention singing 
"Die Wacht am Rhein" at a 
French picnic; wearing a hair shirt 
over a severe' case of prickly heat ; crank- 
ing a 1910 flivver; cranking a 1917 
flivver ; cranking a flivver ; eating soft- 
boiled eggs in England ; eating hard- 
boiled eggs anywhere ; dreaming that 


you are attending a Screen Club blow- 
out attired in pajamas. All these and 
many others are as full of chuckles, com- 
pared to photoplaying in the wild uncut, 
as is Bert Williams or Charlie Chaplin 
compared to a shorthand account of the 
County Medical Association in active 
session assembled. Would that Mark 
Twain or Irv Cobb could have made 
the trip, so that we could have an ade- 
quate description of the horrors and 
hardships attendant up'on it. 

Of course, I didn't have to go, but 
when I was offered what struck me as 




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a huge sum per 
week and ex- 
penses, I almost 
fell over myself 
accepting. I went 
around Los An- 
geles that week, 
my head in the 
air, with hardly 
a glance at the 
humble extras 
from whose rank 
I had suddenly 
risen, pitying 
them, in the full- 
ness of my own 
luck, that they 

should not have a similar opportunity. 
Oh, what a fall was due ! And it came ! 
To begin with, we left Los Angeles 
on Friday, and the tickets were pur- 
chased on the 13th. We might have 
known better ! We chose to go to the 
redwoods because of the scenery, which, 
beyond any question, is absolutely won- 
derful. Trees whose trunks measure 
twenty to thirty feet thru, and which 
reach up to a height of two hun- 
dred feet or more ; acres and acres 
of the most beautiful ferns, growing 
as rank as oats and reaching a height 
of six feet ; hillsides showing green 
in the lazy autumn sun, with rivers 
of molten silver 
winding in and 
out among them 
— all these and 
many others 
combine to form 
a picture in my 
mind which, even 
backed by -mem- 
ory, i s beyond 
the humble pow- 
ers of myself and 
my trusty Rem- 
ington. We had 
a slight concep- 
tion of what we 
should find there 
— in the way of 
scenery; but the 
actual thing was 
even more stu- 
pendous than we 
could imagine — 


and in our bunch were some trusty little 
"imaginers," both plain and fancy. You 
see, the Press Guy was with us ! Even 
he was ''stumped" for adjectives that 
hadn't been overworked. 

But one thing we hadn't realized — or 
didn't know — was that where the red- 
woods are there is the fog-belt. It is 
' the nature of the trees. They will not 
grow anywhere else — not even in a mildly 
dry climate. It is not the heavy rain 
they seem to need, but the prevalent fogs 
and low clouds — the humid atmosphere 
from which said redwoods seem to 
draw sustenance is thicker than a dis- 
tant cousin at a will-reading. 





We reached Areata thirty-five strong. 
Areata, Cal., being apprised of our com- 
ing beforehand, was there at the station 
to welcome us, with autos bearing 
placards announcing who and what we 
were — emphasis being placed on the 
zvhat! A banner such as sandwich-men 
wear was draped artistically around the 
auto in which Miss Holmes was to ride, 
and on it was enough biographical data 
to make a very good interview with that 
young person. The rest of us traveled 
up in the other cars, and before the 
hotel was reached we had resolved our- 
selves into a sort of triumphant proces- 
sion. Except for the fact of our twenty- 

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for - ten ready- 
made cigarets 

and the pres- 
ence of our 
autos we might 
have been a 
little w a d of 
Roman soldiery 
returning from 
the conquest of 
Canaan or what- 
ever place they 
w ere in the 
habit of "con- 
questing" in. 
Lumber j acks 
ran over men, 
women and children to form into a pro- 
cession behind us and escort us to the 

At first thought perhaps this sounds. 
as if we should have been elated by this 
attention. But think again. Think once 
more, and imagine yourself the center of 
the eyes — a multitude of eyes like that — 
I should say about eight thousand eyes, 
or, to be strictly truthful, seven thousand 
nine hundred and ninety-nine, for one of 
the men had lost an eye some time pre- 
vious to our advent, so that we could 
not be blamed for this. Imagine, tho, 
being rubbered at by such a gang, and 
you will realize to some extent how we 

felt. All we 
needed was a 
clown band, a 
steam calliope 
and a g i 1 1- 
bordered wagon 
bearing "the 
blood - sweating 
behemoth of 
Holy Writ," to 
make the late 
lamented P. T. 
Barnum turn 
over in his 
grave and start 
working on an- 
other twenty- 
four sheet. 

Let me pause 
right here to say 
that never be- 
fore in the his- 
tory of Motion 



Pictures has a company been accorded 
the reception that was given the "Lass 
of the Lumberlands" company by Ar- 
eata, Cal. The people not only let us 
buy them drinks, but they bought right 
back at us, and left their cigars and 
cigaret cases open in front of us. Their 
generosity was at times embarrassing, 
and made it hard for us to leave them. 
Some of us still receive letters from the 
Arcatans regularly, and they 
are not letters 
signed by a 

you, what's the use of scenery with no 
sunlight in which to "shoot" it? The 
next morning we arose in the midst of 
a sticky, humid fog. We should worry — 
we hadn't intended doing anything but 
get familiar with the locations that day. 
But the next day was worse. And the 
next. The natives told us that it would 
surely be light the next day, and it was 
— from twelve to one, when we were at 
lunch. When we came out 
o begin work, the 
sun coyly 
up a 



named P. Remit, either — they are friendly 

Knowing of our intended arrival, the 
Chamber of Commerce had cleared a 
vacant lot back of the hotel, and had 
built there an open-air stage. They had 
built uprights all ready for our difrusers, 
and a transformer, so that all we had 
to do was to hook our lights on and go 
to work — all at the city's expense, if you 
please ! I ask you to consider that ! 

But if the people were wonderful, I 
have less to say about the scenery. 
Scenerv? Sure, scads of it — but I ask 

blanket of fog and retired behind it. We 
asked more questions of the natives, and 
they informed us "that this was unusual. 
I put little stock in such a statement, 
however, for I had heard it once before, 
when it froze one winter in Florida ; I 
had heard the same story the year it 
roasted the natives to death in Guada- 
lajara, Mexico ; I had heard it when the 
wind blew in a two-story building in 
Denver, Col. ; again, when it blew the 
top out of the mercury in Santa Ana ; 
ditto every other place I had been. 

Finally, Mr. MacGowan decided to 



commercialize the fog. If it was going 
to be foggy, he'd make a picture calling 
for fog*- He sat up all night one night 
writing the "fog episode," and the next 
day we went merrily to work. And on 
the second day the fog went and buried 
itself behind the hills, or in the ocean, 
or wherever it belonged. Eventually, 
however, we got it. 

But the worst part of the trip came 
when we chartered a gasoline tug and 
went down the coast thirty miles to Cape 
where we 

such frightfully loose water. T lost things 
on that trip that I never ate — including 
my best hat and a wonderful appetite. 
But at that it was a wonderful experience 
— very wonderful! 

The tug we chartered for the two 
days' work was called the Magnolia; 
but not, most emphatically not, because 
of her odor — she had been a substitute 
fish-boat. And she had turned turtle in 
the mouth of the Klamath River a short 
time before, and had drowned the entire 
crew. This was a pleasant little thing 
to remember in cross- 
ing the Hum- 
'%'. bar. 



number of scenes around the ill-fated 
steamer Bear, where she lay half in 
and half out of the water. Everybody 
got so seasick that they rather hoped 
she would finish sinking, and thus settle, 
once and for all, this awful nausea. (Sea- 
sickness being about ten miles the other 
side of what Sherman said war was!) 
But there was no such luck for us. It 
stayed almost right side up all the time. 
It would nearly go down by port-side 
first, then the starboard would dip under 
the briny, and with each lurch of the 
awful thing we would all shade off from 
a pretty, waxy white to the color of thick 
pea-soup, and" wonder why they ever built 

with the combers running thirty-five feet 
high and half-a-mile long, with Friend 
Tug swinging back and forth from side 
to side until it seemed that the topmast 
was intent on being submerged in the 

Altho it was early fall and delight- 
fully warm around Los Angeles, the 
water in the ocean at Cape Mendocino 
was colder than the heart of a scenario 
editor. Several of the cast were called 
upon to dive overboard and frolic around 
in the wet. Accustomed to the warm 
beaches of the South, it was inhuman to 
ask it of them ; but, of course, that's what 
we had all been hired for. And over we 



went. I speak of it feelingly because I 
was among- those present doing the Kel- 
lermann. Miss Holmes went overboard to 
rescue Billie Brunton, and when she 
came up she was blue with cold and her 
teeth were rattling like a Brush car driv- 
ing over a railroad trestle. But she 
gamely continued her acting until the 
scene was over. It looked splendid on 
the screen, which, after all, was the chief 

The next time we made the trip down 
to the stranded ship, for beach or shore 
scenes, we went in autos. That lingers 
in what serves for my brain as the most 
memorable trip I have ever had. They 
needed every extra in the crowd, and 
even the Press Guy worked. That was 
the only bright spot in that awful day 
for me — the fact that he himself had to 
endure some of the discomforts and hard- 
ships that make "such splendid copy," as 
he is accustomed to say. Sitting back in 
a steam-heated office, with a stenographer 
at his beck and call, writing cheerful lies 
about ''how crazy we actors are over such 
things" and the sacrifices we make for 
"our art," is a bit different to the work 
he did that day. He himself helped make 
some of that much-vaunted "good copy"! 

Drenched to the skin in ice-water — 
that in itself would have been bad enough. 
But that wasn't the worst of it. The 
day was clear as a bell, but there was a 
wind blowing straight from the North 
Pole. I shall never cease to regret that 
Cook or Peary ever discovered that Pole. 
The wind registered sixty miles an hour 
and it whipped along that two-mile beach, 
picking up sand with which to beat us 
in the face. It was so cold that we were 
all bundled in furs and lap-robes when 
not working. There was no place to sit 
except on the sand, unprotected from the 
wind. It would pick up handfuls of sand 
and grit and drift them in thru the 
seams of our coats and down our backs 
and into our eyes; it drifted up beside us 
and around us until we were in danger 
of being buried alive. Half the time we 
couldn't see because of the gobs of mud 
in our eyes. 

At sundown we started for home. The 
wind had not died down with the setting 
sun, as it is supposed to do by our best 
little free-verse writers. It increased. 

From Cape Town to Ferndale you travel 
over what is known as the Wildcat Trail. 
At best, that trail is worse than anything 
you can imagine. Wide enough for only 
one machine, and most of it standing 
up on end, it constitutes something a 
little worse than anything I had ever 
encountered before. To make it worse, 
for several weeks a flock of dissipated 
trucks had been traveling back and forth 
over that course, carrying salvage from 
the wreck, and they had worn holes in 
the road that were big enough for Indian 
graves. Most of the hills were so steep 
that they had to be made on second ; 
and on top of this, you must remember 
that we were driving into the face of a 
sixty-mile zephyr. xA.lso, that zephyr was 
cold — it was more than that. Sixty miles 
we drove thru that blizzard, minus snow 
and sleet. After the first ten miles I 
was frozen to my seat and my legs were 
mere icicles. We had eaten at eleven 
o'clock that morning; it was ten-thirty 
that night when we reached that so dear 
hotel ! Speaking for myself, John, I 
dragged my ice-caked figure into the 
little room with the third rail in it and 
hoisted aboard several scorching alco- 
holic beverages that thawed out enough 
of me to hold food. But let's draw a veil 
of charity over that ! 

A trip to the Yosemite brought us five 
days of good weather and two weeks of 
rain and fog, during which we fought the 
demon rum, exchanged salaries via the 
national game of poker, and did other 
little things to keep from going mad 
during the days that were so dark we 
had to light matches to see the windows 
at noon. It was dark! 

When we finally reached Los Angeles 
again we were covered with chilblains ; 
we were verging on the borders of in- 
sanity ; we had caught colds, pneumonia, 
and housemaid's knee ; our patience and 
nerves were worn to a frazzle, and we 
were not on speaking terms. 

I will be a long time forgetting this, 
my first experience on a location trip. I 
never knew how much I loved Los 
Angeles until I returned to it from the 
Yosemite. I wanted to kiss the paving- 
stones, and was restrained only by force 
from falling upon the neck of the traffic 
cop at the station. I was happy! 

Limerick Looseness — A New Frozen Drink ! 

Fluid Stuff for Midsummer Madness Messed Up by Looney 
Poets from Acid Lines and Icy Hearts 

"Pvrixk to me only with thine eyes" showed that the has-been poet was 'way off the 
] J track. He had never tasted a Limerick nor put one to work. A well-born one 
tickles the palate, delights the eye, buzzes the ear, clears the nose and touches 
the Editor — for a prize. The well-developed Limerick can either now-I-lay-me quietly 
under the tongue or can ring in the brain-cavern like a curtain of fire. No one can quite 
describe its sensations — every one can make a stab at building one. 

We offer $10 in prizes each month ($5, $2, $1, $1 and $1) for the best Limericks. 
The winners this month are Stanley Barnett, D. Gerbracht, Harry J. Smalley, Mary 
E. Rouse, Stella Harris and A. Cameron. 


Ilike the dazzling woman-stars 
A-shining on the screen ; 
In spite of telescopic search, 
No asteroids are seen. 

But best of all a man-star, who, 

A-scorning stellar chart, 
His own erratic orbit makes — 

The shooting-star, Bill Hart! 

Stella Harris. 

5102 Asotin St., Tacoma, Washington. 


e's the brightest of stars that are 



He knows all about acting, I'm thinkin' ; 
There's none, bless your heart, 
On the subject of art, 
Can "eddicate" Eddie K. Lincoln! 

Mary E. Rouse. 
1942 Warren Ave., Chicago, 111. 



And this of the Sisters Du Gish, 
To see them "grow up" is my wish 
They are O. K., 'tis true, 
In parts "onjinoo," 
But their debutante slouch — oy — slish ! . 
Eleanor H. Berceau. 
3435 W. Chicago Ave., Chicago, 111. 


Sure, he has a most iligant map, 
Has this husky and likeable chap ; 
But he's the divil on wheels, 
From his head to his heels, 
When scenarios call for a scrap ! 

Mary E. Rouse. 
1942 Warren Ave., Chicago, 111. 

(L'Homme Qui Hire) 

You smile ! and, without let or hinder, 
Reduce girlish hearts to a cinder; 
You have sure "come across" 
With the goods — you're the boss 
Of all laughter-provokers, Max Linder ! 

A. Cameron. 
64 Grove Ave., Highland Park, Detroit, 



The plot of this limerick's hazy, 
But that doesn't prove I am crazy; 
The diction-nar-ee 
Is correct to a T — 
It says: "Marguerite is a daisy" ! 

Harry J. Smalley. 
1207 W. Madison St., Chicago, 111. 




Sidney Drew is a source of much joy, 
Who "comedes" without any alloy; 
To me it's a wonder, 
However in thunder 
A man can so long be a boy! 

Lester C. Willard. 
42 Herriot St., Yonkers, N. Y. 


In "Pearl of the Army" in khaki 
I liked her so much I am tacky; 
If I knew I'd be sent 
Into her regiment 
I'd enlist in a minute, by crackey ! 

Harry J. Smalley. 
1207 W. Madison St., Chicago, 111. 



hammock and cushion underneath the 


The Movie Magazine to read, and 

thou — 

With Norma Talmadge underneath the 

trees — 

Oh ! Germany would be Paradise with 

these ! 

Ethel Yockey. 

124 Pleasant St., Rockwell City, la. 


Douglas Fairpanks once went to 
He got stuck in the snow to his neck; 
So he turned on his smile, 
And just waited a while — 
And the snow simply melted, by heck! 

D. Gerbracht. 
Ames, Iowa. 


Many vessels have ne'er reached shore 
Since the start of the submarine 
Already the U-boats 
Have sunk quite a few boats — 
And now our "Cunard" is one "Moore" ! 
Stanley Barnett. 
517 Pine St., Ishpeming, Mich. 



You dont look the part, Harry Meyers, 
But your name is suggestive of fires ; 
You've kindled a flame 
In my heart, just the same, 
And I hope that it never expires ! 

Fred Ziemer. 
Ill College St., Buffalo, N. Y. 

Wild and Woolly 


I T Hartley Hillington 
stood before the 
*'* triplicate mirror of 
his dresser, sur- 
veying the 
) young gen- jftk 

tleman re- 

designated in 

atlas as Hartley's 
Mills, Pennsylvania. 

L ne latest census gives 
Hartley's Mills a 
population of 
a cen- 
sus of 

with a n en- 
t i r e 1 y un- 
bitterness. Baby- 
I blue eyes, round, 

pink cheeks, a dimple in the 
chin, and a delicate lavender neck- 
scarf — t h i s was the Jeff . ■ 
known to that small 
portion of 
the world 

Jeff Hi 

ton's friends would 
have totaled precisely 
the same number. 

He had health, 
youth — e i g h t e e n 
years of it — and 



he was completely surrounded on all 
sides by money. He had a smile 
of such compelling" good nature that 
homeless dogs invariably followed him 
about, and infants with sticky fingers and 
grievances recognized him at once as the 
source of ice-cream and licorice. Yet 
dissatisfaction, like a worm i' the bud, 
preyed on his damask cheeks. He 
gloomed upon his reflection, and his 
reflection beamed back at him, plump and 
guileless and incorrigibly cheerful. 

"You look more like something they 
pick and put in vases than a regular fel- 
low!" he apostrophized himself, indig- 
nantly. "Quit grinning, cant you, and 
get a little pep into that Infant Samuel 
face !" 

He thrust his jaw forward, gritted his 
teeth and frowned mightily with startling 
effect. The expres- 

tion in his pale eye. "If I might venture 
to remind you, sir, of Miss Van Dorn's 

pink tea at four " He viewed J. 

Hartley Hillington critically, head on one 
side in the manner of a window-dresser 
regarding the wax gentleman in the 
nobby suit marked down to twenty- 
two. "A gardenia in your button-hole, 
sir" — his voice was almost pleading — 
"and just a dash of Bridal Boquet on the 
handkerchief " 

"Damn it, no!" shouted Jeff — at least 
he shouted the last word and almost said 
the rest. "What do you think I am? A 
Christmas present, or maybe a bridge- 
prize that you tie ribbons on ?" 

He was several blocks away from the 

house before he thought to wonder where 

he was going. He stopped short and 

considered. There was one thing certain, 

and that was that 

sion did not fit his 
face and was, more- 
over, painful to the 
muscles. And what 
was worse, instead 
of looking like a 
baby who sees his 
bottle approaching, 
he looked like a 
baby who has just 
lost his bottle and is 

"Aw! what's the 
use?" moaned J. Hartley Hillington. 

Unknown to the world, unsuspected 
by family or friends, he cherished in his 
secret soul an ideal of himself which dif- 
fered from the reality as milk differs from 
wine — nay, as water differs from blood — 
a Jeff, stalwart, darkly bearded, with the 
muscles of the man who demonstrates- the 
patent exercisers in drug-store windows ; 
the jaw of a prize-fighter ; the vocabu- 
lary of a dime-novel hero. A man of 
iron, this Jeff, but with a rugged chivalry, 
feared by his foes — he gloated gently over 
the number of foes he would have — a 
man who could drink heavily, gamble 
away his last cent with a smile on his 
face, kiss a pretty serving-girl, and shoot 
an enemy with the same insouciance. A 
bit of a devil, this Jeff — b-r-r-r ! 

"Did you call me, sir?" Wilson, the 
butler, stood in the doorway, consterna- 

Cast of characters appearing in this play, 
produced by the Artcraft Company. 

Jeff Hillington Douglas Fairbanks 

His father Walter Bytell 

Hillington's butler Joseph Singleton 

Nell Larabee Eileen Percy 

Hotel-keeper — Bitter Creek Calvin Carter 

Banker — Bitter Creek Forest Seabury 

Lawyer — Bitter Creek J. W. Jones 

Pedro, hotel clerk — Bitter Creek . Charles Stevens 

Steve, Indian Agent Sam DeGrasse 

Engineer Tom Wilson 

he was not going 
to the pink tea, he 
whose soul yearned 
for adventure, for 
grim deeds and 
dark exploits ! He 
brought his fist 
down in a mighty 
blow — and struck 
something hard 
and sharp close be- 
side him. It was a 
display-board be- 
fore a Motion Pic- 
ture show. J. Hartley Hillington glanced 
up and stood enthralled, mouth slightly 
ajar, as his dazzled eyes took in the gaily 
colored examples of lithographic art 
adorning the entrance-way. 

k> "The Round-up,' ' he read aloud, 
yearningly. " k Red-Blooded Drama of 
the Wild and Woolly West! Cowboy 
Life of the Plains — A Thousand Thrills 
an Hour. Ten Cents Admission.' ' 

In another moment the gum-chewing 
blonde displayed in the glass-case before 
the Palace Picture Theater was richer 
by the precise amount of one dime, and 
Jeff Hillington was sitting in the garlic- 
flavored atmosphere inside, feasting his 
eyes upon a round-up of cowboys in the 
realistic Western setting of Hackensack, 
New Jersey. 

It is surprising what a ten-cent piece 
can do. Properly invested in gum-drops 



or salted peanuts, it may win one a wife; 
injudiciously expended on a whisky-and- 
soda, it may lose one a wife — it may even 
change the course of an entire destiny. 

Wilson, the butler, weary with butling, 
was nodding gently in an antique Eliza- 
bethan chair — made in Grand Rapids, 
Mich. — in the Hillington hall, late that 
afternoon, when a disturbing element 
crept into his dream. He 

pie-faced, moth-eaten coyote ! — buck, 

you wooden-legged son-of-a-snail !" 

And as the unhappy butler 

cavorted along the hall, Jeff 
Hillington felt the blood of 
Bull's-eye Jim, the Terror of 
the Ranch Bar-O, ting- 
in his veins, and 
laughed a laugh 
that would 

THE round-up; he read aloud, 


thought that the Remington picture that 
hung in the den came to life suddenly with 
a terrible yell and bore down upon him. 
He thought he was caught up by the - seat 
of his respectable trousers and deposited 
upon the floor on his hands and kneels; 
he thought some one in a wide sombrero, 
waving a revolver skittishly above his 
head, sat astride of him and commanded 
him in a strange tongue to "Buck, you 

have turned the pink 
tea pale with fear. 

Thereafter life in the 
Hillington home was 
as peaceful as it must ' 
be in the towers of Rheim: 
Cathedral under a heavy bom- 
bardment. Finding his plan of putting 
up an Indian tepee in the drawing-room 
uncongenial to his mother, Jeff turned the 


I den into a likeness of 

the Wild West that is so 
familiar to every one (ex- 
cept a Westerner), with the 
aid of a complete department- 
store outfit — Indian wigwam, 
iron kettle slung over three 
sticks, coffee-pot and all. At 
the same inexhaustible source 
of supply he 
purchased a 
c o w b o y 
outfit pat- 
terned after 
those worn in 
"T h e Round 
up" — bandana 

Rugged Miner 
Heart of Gold. 

The authors — Frank Gar- 
vice, Dick Daring — seemed, to 
Jeff's guileless soul, authorities \ 
on the life they wrote of so 
srliblv. If he could have known that 
Frank Garvice 
was a spinster 
schoolma'a m 
who had never 
been further 
West than Buf- 
falo — but he did 
not know. 
His father and 

r <0 

"j ican belt 
..y and chaps 
the chaste 
white of unsul- 
lied snow. Arrayed in these, 
he was able to view his re- 
flection in the mirror with 
less humiliation. H e 
could almost feel his 
beard commencing to "^2 

The pink-tea set 
looked in vain for the 
cherubic smile of its favorite ; 
the Bunny Hug and the Fox Trot 
and all the rest of the zoological 
dances went on without him, and 
there w r ere several young ladies who 
felt that society nowadays was as 
zestless as a cocktail minus the cherry. 
Meantime, in the realistic glow of a 
camp-fire cleverly contrived out of red 
electric bulbs, Jeff sat evening after 
evening at the door of his tepee and de- 
voured yellow novels of cowboy life with 
voracious appetite. 

Revolvers barked, Indians stalked their 
prey, buffaloes and broncos passed be- 
fore his enraptured eyes. 

"Ha ! ha ! Deadwood Dick never 
forgets an enemy!" sneered the Villain 
in the black cambric mask, and — ■ 

"Put 'er thar, pard !" chirruped the 

v new 

took this 
ment re- 
as they 








had accepted W% 

the measles and 
mumps and other epi- 
sodes of his career, but others 
of the Hillington menage found it a trifle 

"My word!" moaned the harassed 



butler to the sympathetic servants' 

hall. "I 'opes I knows my place 

and all that, but when it comes 

L to being lassoed and tied to a 

chair for one mortal hour, it's 

going a bit beyond the duties 

* of a butler, to my way of 


- It was at this oppor- 
tune point that * 

Undertakers' Union as they ascended the 
steps of the Hillington mansion and were 
ushered into the library of the millionaire. 
Now and again, while they discussed 
the object of their mission, they caught 
something besides borax in Mr. Hilling- 
ton's eye as he gazed about the decorous 
circle. And concurrent with this expres- 
sion, they seemed to hear a 

to Hartley's Mills on a matter that 

y/ concerne d a certain borax mine the 

It" elder Hillington was interested in. 

Xo sound of merry revolver-shots 

woke the echoes of Main Street as 

they entered the town. Black derbies 

adorned their heads instead of the rakish 

sombrero ; sober sack-suits took the place 

of buckskin and chaps. They resembled 

nothing so much as a delegation from the 


rhythmic thumping overhead ,-f^ 

and the sound of muffled cries. -> f_ 

''Gentlemen," said Jefferson • - 
Hillington, Senior, finally pointing to 
the ceiling from which flecks of the plas- 
tering occasionally drifted, ''gentlemen, 
you hear that noise. Does it remotely 
remind you of any sound you have ever 
heard in your lives before?" 

"Whoop-ee!" caroled Jeff overhead, 



in the most approved cowboy style. 
"Whoop-ee! Hi-yi!" 

One of the Bitter Creekers said doubt- 
fully that he had had a cousin on his 
mother's side afflicted something like 
that ; another ventured the comment that, 
whatever it was, he had it pretty bad, 
poor fellow, and couldn't anything be 

Mr. Hillington smiled a satisfied smile. 
"You are listening, gentlemen," he ob- 
served, ''to a cowboy yell as interpreted 
by my son. The thumping you hear is 
caused by a wooden rocking-horse on 
which he is learning to ride, roll 
a cigaret and twirl a lasso all 
at the same time, as the cow- 
boys do in dime novels, 
under the tutelage 
of one T 
t r i a n i n- 
structor, lately 
graduated from a 
school course in 
horse back 
The visit 
ors from 

one accord the Bitter Creekers 
leaped to their feet, brandished im- 
aginary pistols, and lifted their 
voices in a weird, unfamiliar crv : 

e e 

Hi-vi ! 

" W h o o ; 


To Jeff Hillington the jour- 
ney West was full of all the 
shivery anticipation of a small 
boy's Christmas Eve. It was 
with great difficulty that he 
was dissuaded from wear 



Bitter Creek regarded one another in 
bewilderment, but their host's next words 
bore enlightenment. 

"My son has a bad case of romantic 
fever," he told them, gravely. "He wants 
adventure, thrills, excitement. In short, 
he longs to be a cowboy, ride a bucking 
bronco and shoot Indians. Now, on the 
homeopathic principle that like cures like, 
I am going to send Jeff back West with 
you, and ask you to give him a few doses 
of what he wants." 

A chuckle ran around the circle. With 

ing his cowboy out- 
fit on the train, but 
his fellow travelers 
assured him — with 
picturesque oaths dec- 
orating their remarks — that he would find 
it useful, even essential, once they arrived. 
" 'Member that 'ar tenderfoot th' boys 
strung up last summer f'r toting a tall 
silk hat?" one of them asked his neigh- 
bor, carelessly. "Sarved him right, too, 
th' blankety blank dude !" 

"Then thar was that son-of-a-gun who 
sported a wrist-watch !" reminisced an- 
other. "The round-up from Ranch Bar- 
A made him a little visit one night. 
Chased him clar into Cherokee County, 
but it warn't no use his running. There 



was jest one thing left when they finished 
with him !" 

"What was that?" breathed Jeff, awed. 

"Th' wrist-watch," replied his in- 
formant, "an' that's running yet. Haw- 
haw !" 

Warned by a long and detailed tele- 
gram, Bitter Creek was at the station 
en masse to welcome them. / 

Barring a slight inconsistency ^ ;; ^ 
of costume, which ranged *-:C^s v 
anywhere from Mexican .-^i 
bandits to Italian 
brigands, the result was 
all that could be de- 
sired. Hairy ruf 
flans in red neck- 
erchiefs, dash- 
ing ranchers /Jm 
in high a^m 

notches in his gun? He's pizener 
when he's loaded with whisk}-. 
keep outen his way !" 

"Shake hands with the Belle 
of Bitter Creek!" another - 
yelled, pulling a pretty girl in 
riding-skirt and sombrero into 
the circle about the newcom- 
ers — "Nell Larabee, that's 
refused ter be lassoed by v j 

any man in town, in- 
cluding me !" ^ 
\ Jeff shook hands *l| 
i - enthusiastic- 

'n hell 


specimens with bowie-knives 
stuck in their belts and pistols in 
both hands, swarmed about Jeff, 
greeting him with the magic words 
of fellowship : 
'Tut 'er here, pard!" 
"Shake, tenderfoot! One-eye Pete 
never goes back on a friend !" 

"That 'ar's a bad man from Rattle- 
snake Ranch," hissed one of his train 
companions into Jeff's ear. "See the 

He had read about cowgirls, but 
nothing in his movies or dime 
novels had prepared him for such 
an extremely pretty cowgirl as 
this. He had a vague notion that 
a real Westerner would have kist 
her then and there upon her laughing 
lips, but tho the Jeff of him was will- 
ing, the J. Hartley Hillington was not. 

Later, however, as Nell and he were 
left alone a moment in the dance-hall 



behind the saloon, while Bitter Creekers in 
a committee of the whole debated further 
amusement over a round of drinks in the 
next room, conscientiously shooting off 
a pistol at intervals, he was very near it. 
He had knelt to fix the heel of one small 
riding-boot, and the girl, with an au- 
dacious movement, put the other foot on* 
his bended knee. The position brought 
her sparkling face very close to his, and 
in another moment the fell deed would 
have been done. But suddenly, without 
warning, Jeff found himself looking di- 
rectly into the muzzle of a very business- 
like gun. 

"That's my gal, and dont you forget 
it !" rasped a harsh voice that belonged 
to one of the most totally unpleasant 
countenances Jeff remembered at the mo- 
ment ever having seen. "When a stinkin', 
pie-faced tenderfoot comes ogling round 
Nell Larabee, there aint room enough for 
both of us on earth !" 

"Quit that, Steve!'' the girl spoke 
sharply. "You've got no brand on me, 
an' you know it.*' 

She watched the shambling figure of 
her admirer depart reluctantly, a vague 
uneasiness in her eyes. This part of the 
performance was wholly impromptu and 
without rehearsal, and she did not like 
Steve's manner of holding his gun. It 
was altogether too realistic. 

"He's Steve Shelby, the Indian agent 
from the reservation," she explained to 
Jeff, almost forgetting the nasal twang 
appropriate to her role of cowgirl. "He 
wants to marry me, but I hate him. 
Sometimes he almost frightens me !" 

"Not while I'm around!" exclaimed 
Jeff grimly, and she saw suddenly that his 
chin, in spite of the dimple, could be very 
grim. "If he gets gay, just leave him 
to me" 

In the next room the finishing touches 
w r ere being placed on the preparations for 
giving the Eastern guy a taste of the wild 
and woolly West. 

"I'll be here with my Indians at six," 
Steve promised them. "We'll shoot up 
the town a while, and then, if that 
doesn't satisfy him, we'll try what a 
little hanging '11 do!" 

He laughed boisterously, but there was 
an ugly gleam in his eyes which the 
others did not see. 

"If he wants adventure and excitement, 
he shall have it !" Bill Steffins, proprietor 
of the saloon, declared, rubbing his fat 
palms together vindictively. "It makes 
me sick to listen to the wise guys that 
come poking out here every summer, 
looking at us as if we was some new kind 
of animals in a zoo. They think we eat 
with bowie-knives and sleep in our boots, 
and dont know nothing about Eva Tan- 
guay, or porcelain bath-tubs, or patty de 
fo grass, or any other of the rayfinements 
of civilization !" 

"We wont hurt the kid," said another, 
kindly; "just scare him a little, so's little 
old Hartley's Mills, Penn., '11 look pretty 
good to him. Here they come now — all 
together, fellows !" 

And the room shook to the stamping of 
feet, the clashing of glasses and the roar 
of a dozen voices raised untunefully in 
that charming and well-known ditty of 
the plains : 

I'm wild and woolly and full of fleas, 

L'm hard to curry above the knees; 

I'm a she-wolf from Bitter Creek, 


This is my night to howl! 

As the sun went down that evening Jeff 
Hillington sat upon the veranda of the 
hotel and reflected on the events of a 
Perfect Day. Beside him on the steps sat 
Nell Larabee, industriously braiding a 
rawhide quirt, and doing it very prettily, 
very professionally and entirely wrong. 
A thick braid of brown hair lay along her 
flannel back, her eyes were downcast and 
demure. Something in Jeff's breast gave 
a queer little jump. For the first time in 
his life he had really seen a girl. Nell 
gave the quirt an impatient twitch and 
cast it from her. 

"D — n!'' she lisped, as artlessly as the 
Pink Tea girls might sigh. "Oh, dear! 
It's shore a rotten job tackling raw- 
hide! Got any 'baccy, stranger? I 
haven't had a smoke all day !" 

Thru her long lashes she caught the 
flash of surprised disgust 'in the boy's 
wide, blue eyes, and for an instant the 
game she had elected to play seemed 
cheap and burdensome. A hot wave of 
shame swept her cheeks. She forgot the 
pique that had led her into this farce, the 
anger she had felt toward the young 



upstart from the East who thought they 
were no better than savages, and her re- 
solve to make a fool of him. The day's 
experience had shown her the clean heart 
of him, the honesty and eager, boyish 
longing for romance. 

Suddenly she sprang to her feet ; she 
would have no more to do with this cruel 
baiting ; then she grew pale. At the head 
of the street a cloud of dust was rising 
under a hundred thundering hoof-beats, 
and the soft air of the evening was filled 
with blood-curdling yells. She had 
forgotten the Indian raid ! 

From the buildings all along the 
street poured the inhabitants of Bit- 
ter Creek, firing blank cartridges in 
the direction of the approach- 
ing band as they ran. 

"Indians !" the y 
yelled in tones of 
dire panic. "A 
Sioux uprising ! 
Run for the town 
h a 11 for your 

Bill Stef f ins, 
looking out of his 
doorway to gloat 
over the tenderfoot's 
discomfiture, sud- 
denly gave a 
shrill scream 
and clutched at 
his bar e, fat 
arm. A stream 
of blood was ^ 
trickling along its 
mottled surface. 

"I'm hit!" he 
gurgled. He stared 
at his arm stupidly. 
"They're not using 

A moment later the cloud of dust rolled 
over them. Curses, hoarse yells of pain 
and terror came from the struggling 
melee. Horses reared and plunged ; the 
fluttering feathers of the Indians and 
their hideously smeared faces showed 
above the press, then were gone. Gasp- 
ing, bleeding from a dozen wounds, ut- 
terly discomfited, the practical jokers of 
Bitter Creek stood looking after the rap- 
idly disappearing dust-cloud, trying to 
collect their wits and decide what had 
happened to them. Then a howl of fury 



blanks, after all !" 

hurtled heavenward, for they had dis- 
covered that Nell Larabee was missing! 
"It's Steve Shelby, the pizen skunk !" 
moaned Bill. "He's stole her. He's 
headed for Mexico !" 

They stared at one another, helpless in 
the grip of horror. Their merry mas- 
querade had changed to brutal reality. 
The dime-novel exploit they had staged 
had passed off better than their fondest 
plans, but the actors had forgotten their 
lines — perhaps had read them too well. 
One man alone of all 
the demoralized crowd 
was equal to the situa- 
tion. Pistol in hand, grim 
of jaw, alert, determined, 
Jeff Hillington sprang 
forward, yanked the tie- 
rope from the head of 
one of the horses tied be- 
fore the hotel, and sprang 
upon his back as lightly 
as he had sprung upon 
the dummy horse in his 
own chamber, under the 
tutelage of T. Clarence 

To Jeff alone the situa- 
tion was familiar, nat- 
ural. The Indians of his 
precious yellow - backed 
novels always did just this 
thing, and the brave hero 
always was able to follow 
the m — single-handed, 
alone — on his trusty 
steed, and rescue the cap- 
tive maid. He raised his 
pistol and took a care- 
less free-hand shot at 
the rising harvest moon. 
"Whoop-ee !" yelled Jeff exultantly. 
"Coo-ee ! Hi-yi ! Whoop-ee !" 

The clatter of his steed's hoofs died 
away in the distance. Feebly the wild 
and woolly citizens of Bitter Creek sought 
each other's eyes. 

"What do you know about that?" they 
demanded, plaintively. "What do you 
know about that — aw, say!" 

The moon was high in the heavens 
when the Hero and the Captive Maid 
rode back into Bitter Creek together and 
drew rein before the hotel. During the 
evening the crowd gathered therein had 



uttered some really eloquent obitu- 
aries over Jeff's memory. . They 
regarded him now with much the 
same exasperation as the mourn- 
ers at a funeral might feel if j' 
the late lamented were to sit up 
in the coffin and de- 
mand a ham sandwich. * 

friend! Oh, it was beautiful! 

Those Indians and Steve Shelby 

just stood listening with 

their mouths open. 

In the dance-hall behind the saloon they 
fed the two principals in the night's 
drama. Jeff, basking in the genial warmth 
of their awe and admiration, caught a 
disillusioning glimpse of himself in the 
mirror over the bar — baby-blue eyes, 
pink, round cheeks, and guileless smile. 

Thru his dismal reflections he could 
hear Nell's voice. 

"Just think of it — one man against a 
hundred ! He had them all scared to 
death. It wasn't so much his gun, be- 
cause they all had Colts — and he was 
holding his upside down, anyway — as it 
was what he said! You never heard such 
language in your lives ! He called 
them pie-faced, moth-eaten coyotes and 
wooden-legged son-of-a-snails ! He said 
as long as Bull's-eye Jeff, the Terror of 
the Ranch Bar-O, could pull a gun he'd 
never forget an enemy or go back on a 

tomor- .' 

standing in the 

and we just walked 
off and left them that 
way. I shouldn't won- 
der if you went there 
row you'd find them stil 
same place." 

It was at this moment Jeff felt himself 
lifted bodily into the air amid a deafening 
chorus of shouts and cheers. From his 
insecure perch on the shoulders of two 
brawny enthusiasts, he looked dizzily 
down into a sea of laughing faces, saw 
hats flung up and pistols waved, and 
Nell's face looking proudly up at him — 
heard his name shouted aloud. 

"Jeff ! Hooray for Cowboy Jeff !" 
A pricking sensation tingled in his 
cheeks. He put up an investigating hand 
and made a wonderful discovery. This 
time there could be no doubt about it. 
His beard had begun to grow! 

The Movie Gossip-Shop 

Pictured News Sauced with Tittle-tattle from Screenland 

"I speak the truth — not so much as I would, but as 
much as I dare; and the older I grow — the more I dare." 

— Montaigne. 

had presence of mind enough to loosen his 
straps during the fall, but Cadet Frazer was 
caught in the wrecked machine and burned 
alive. Lieutenant Castle escaped with only 
bad bruises and a general shaking up. 
Agnes Castle says that she would like noth- 
ing better than to fly with her husband and 
to be his observer. Knowing her courage 
and daredeviltry it wont be strange should 
she decide to forsake pictures and become 
one of Uncle Sam's human eagles. 

The English and French missions have re- 
ceived such glorious ovations in the big cities 
that we have almost forgotten the remark- 
able receptions which William S. Hart is re- 
ceiving while on grand tour. At Kansas City 
the stockyard boys stayed up all night to 
catch an early morning peep at "Big Bill," 
from the cattle country. In St. Louis they 
went one better and' the National Guard, 
turned .out, selecting him as "Colonel Bill" 
for the day. Bill Hart's turning point is 
Newburgh, N. Y., where his mother still 

When the Famous Players sent Louise 
Huff to Block Island to get the exterior 


It was a dramatic moment in real life when 
Agnes Castle came face to face with 
Vernon Castle after his absence of over 
a year on the fighting front of France. Lieu- 
tenant Castle wears the Croix de Guerre 
(War Cross of Honor) as a reward for his 
daring services. 

And yet there was nothing dramatic in the 
actions of the reunited couple. Soon after 
their first meeting, they were dancing to- 
gether with friends in a hotel ballroom with 
the inimitable Castle grace that brought 
them both fame and fortune. Here is the 
near-tragic part of their recent history. 
Shortly after meeting his wife, Lieutenant 
Castle was called to Canada to give aviation 
instruction. While up for a trial flight with 
Cadet Frazer, the machine's steering gear 
became blocked and a terrible fall thru the 
air followed. The veteran aviator, Castle, 


scenes in "Destiny's Toy," the 
script made no mention of a dog, but 
at the hotel where the company I 
stopped there was an Irish terrier » 



took a violent interest in Miss 
The dog followed her all over the 


hotel and was so de- 
voted that he even ac- 
companied the players 
out to their location. 


Seizing the opportunity thus proffered for 
adding interest and a note of sympathy to 
his production, the director told Miss Huff 
that she could use the dog in all her scenes. 
He is snapped sitting on a rock contem- 
plating his newly discovered mistress with 
an almost fatherly interest. 

"Doug" Fairbanks and "Little Mary" are 
not planning to combine their millions, and 
there is no romance astir, as both of them 
are muchly married. But they do have a 
good bit of fun frolicking together between 
scenes. "Doug" is shooting together "Wild 
and Woolly" and Mary is rusticating in 
"Rebecca of Sunnybrook Farm," but, as they 
are working on the same lot, they naturally 
want to frisk together there, too. Here is a 
shocking picture of "Doug" lining up to the 
bar with Mary and telling 

her to "licker up" on 
him, but the saloon 

booze-party is made up of purely Christian 
Science shocks. 

Charlie Ray was on location during the 
filming of "The Millionaire Vagrant." His 
company was working in the grounds of the 
Soldiers' Home in Sawtelle, Cal., and Charlie 
found it necessary to leave his car several 
blocks away. Then the street urchins got 
busy — "5c. to 4th St." was the sign that they 
hung on his car. After a strenuous day's 
work, Charlie, upon reaching his machine, 
was astonished to find two very complacent 
old ladies ensconced in the rear seat. Then 
his eyes caught the placard, and entering 
into the spirit of the joke he started the car, 
whisked the old ladies home, and accepted 
their proffered dime, with a thank you. 






There is a moth-eaten saying that "A 
camel can go ten days without drinking, but 
who the deuce wants to be a camel?" When 
Fatima's mother passed away, the baby 
camel became an orphan with nowhere to go 
for a drink of good camel's milk. It was 
Louise Lovely who took it upon herself to 
mother the distressed Fatima, and each 
morning she makes it a bright and early 
duty to bottle-feed little orphan Fatima. 

Viola Dana's secretary has thrown up her 
job. They say that she is suffering from a 
nervous breakdown. This faithful shadow 
did not mind the moil of sending hundreds 
of autographed photographs and answering 
thousands of questions, but she fainted dead 
away upon the receipt of the following. 
"Dear Miss Dana," ran the epistle, "will you 
please send me a complete outfit of clothing? 



I especially need a new evening dress. Dont 
send me cheap things, as my social position 
would not permit it. I shall enjoy opening 
the box very much." The young lady has 
not yet opened the box. The faithful secre- 
tary had almost recovered from her swoon, 
when she read a long letter of inquiry as 
to whether Miss Dana wore artificial eye- 
lashes — it was simply impossible for any 
one to have such long lashes. A stamp was 
inclosed for reply. As this was the first 
return-postage stamp the secretary had ever 
received, the combination was too much for 
her delicate nerves. She has fled. 

Every studio has got to nave a goat — it's 
usually the property-man, but with "Betsy" 



it's different. She is a luxurious creature, 
who browses upon the asparagus and neg- 
lects the can. Betsy's rise to exclusive film 
circles came about in this way. Her an- 
cestry is simple — she simply tagged over the 
hills of Fort Lee, N. J., after any old mother 
goat, but bare-footed Theda Bara needed a 
kid, and not kid shoes, in "The Darling of 
Paris" — hence the kidnapping of Betsy. 
Since that eventful date she shares her 
luxurious moments between the fair Theda's 
dressing-room and her limousine. In such 
a case, who wouldn't be a goat? 

It is commonly accepted that the dog is the 
most affectionate of all animals, but George 
Beban begs to differ. In his latest picture, 
"A Roadside Impresario," a big, black bear 
co-stars with "Dago George." According to 
George, bruin "meka da whole show." 

But George is unduly modest — he spent 
many untimely hours teaching "Romeo" how 


to get into the movies, and "Romeo" is now 
a post-graduate. He follows "Dago George" 
everywhere and is a past-master at the 
screen kiss and the screen hug, much to the 
discomfiture of George's make-up. 
In effete Manhattan, the grande dames of 
(Continued on page 168) 






ING my ar- 
ticles o n 
this subject 
that appeared 
in this Maga- 
zine last year, 


character-men — the ones who have to exit 
if it comes to a choice between them and 
the leading-man, but who, when it comes 
to real merit, would have to get up and 
make their bow. Why, plays without 
the character-man would be like cake 
without baking-powder, and these men 
are in reality the artists, with a few ex- 
ceptions on the part of the heroes, who, 
I suppose, are wondering why I am 
mating them so. So, as a 
token of esteem, what seems 
more plausible than to have 
some echoes made just 
for them — not dainty 
concoctions, but some- 
thing more substantial 
and at the same time 
just as good? 
lllii. S.Hart Sherro — Sounds 
as if it might be Spanish 
or Mexican, but what 
do we care, as long 
as it is named for 
"Our Bill" and as 
long as it is 


I am calling this series "Echoes a la 


That means the 


men — the 


for him? 
He's a prince, 
and to show you 
le international 
feeling towards 
him, I'll have to quote 
part of a letter I re- 
ceived. It contains the feelings 
not only of the writer, but nine-tenths 
of the great world of picture-fans : 
"Saturday I saw my favorite in 'The 
Aryan,' and he was certainly great. He 
is the greatest ever, and after seeing him 
I retire to a dark corner and hate my- 
self fervently. He is what the Lord 
intended when He made the race, but 
most of us today are parodies on the 
original type. However, it's a tonic to 
see one once in awhile." 

How's that for a criticism? Let's see 
if the echo comes up to the standard. 



IiTa dish put some ice-cream that has 
been frozen with pulverized pieces of 
stale macaroons. Flavor with sherry to 
taste, and now you've found out why it 
was named "Sherro." Good ? I know so. 

George Beban Italian Sundae — Isn't 
he the regular essence of sunny Italy? 
Never self-conscious and always doing 
his best, he does praiseworthy and flaw- 
less work, and as a plain every-daj 
"Dago" he cant be beat. Put him 
beside a Tony and you couldn't 
tell the difference. On the screen 
you can almost hear him speak 
his broken English as he gesticu- 
lates freely and the very way 
he shrugs his shoulders re 

wonder and 
so describes 

for he 
keeps you 



that "his 
da vera 

minds you 
banans are 

In a dish put some 
vanilla ice-cream 
and pour over this 
some crushed 
strawberry syrup. 
Sprinkle w i t h 
and it makes a 
dish that will be 
remembered a s 
long as George 
Beban and his work 
will be — forever. 

Theodore Roberts / 
Plat Admirable — It's 
true I had to look in the dictionnaire- 
franeais to find a word so aristocratic- 
sounding as to suit both the name and the 
work of Mr. Roberts, and now comes the 
real trouble of finding something to eat 
that will stand on the same level with 
him. For Theodore Roberts is more 
than well known — he's famous ; and his 
work is such that one longs to see him 
again and again. Xot many men have 
had the career he has had, but he has 
worked for it untiringly and earnestly 
and so must be rewarded. 

Cherry ice makes the dish's founda- 
tion and should be served in a sherbet 
glass. Over this is poured some choco- 
late syrup — not too much — and several 
of the fat, juicy maraschino cherries. 
Serve with cakes and see if it doesn't 
taste better than it sounds. 

Henry Walthall Wonder — This dish is a 


wondering all the time, and at the 
same time is a wonder himself. 
He gave me the nightmare one 
night, and the next time I saw him I 
wondered how he did it, for he was just 
like a regular man ; nice, polite, and — 
human. I gasped in amazement, for 
(Continued on page 152) 



outse Lovely and Allen Holubar will 
appear in two Butterfly brand re- 
leases of Universal features. The 
first, "The Field of Honor," is a drama of 
Civil War days by Brand Whitlock; in 
"The Adirondack Affair," Holubar, as a 
young detective, solves the mystery of the 
missing heiress. 

Roscoe "Fatty" Arbuckle hired the largest 
cabaret in New York City to act in a num- 
ber of his trick stunts for "A Rough 
House," third of the series of Paramount- 
Arbuckle comedies. Many of the scenes are 
played in Churchill's famous "White Light" 

In "Fires of Youth," a five-reel Thanhouser 
play, Frederick Warde plays the 
part of a steel king who has 
given his boyhood and youth in 
exchange for his massive for- 
tune; Jeanne Eagles helps him 
disclose the manner in which he 
finally finds happiness. 

"Sweet Marie" Cahill, who 
wears a No. 5 glove and a No. 
2y 2 shoe and a $1,000 opera- 
length sealskin coat, recently 
preached on "wartime economy 
in clothes." She is all wrong. 
The fur and shoe factories would 
go out of business, so also would 
the nickelodeons and two-bit 
movie palaces, if "Sweet Marie's" 
advice were generally adopted. 
She should boost home industries 
and advocate the wearing of 
clothes — and more of 'em. 

S. Rankin Drew, son of Sidney Drew, has 
completed the sociological photoplay, 
"Who's Your Neighbor?" a seven-part film 
for the Master Drama Features Company, 
and has sailed for France to join the Amer- 
ican Ambulance Corps. 

Francis X. Bushman and Beverly Bayne, 
who have appeared in more than three 
hundred photoplays, have re-signed with the 
Metro Pictures Corporation on a long-time 
contract at a large figure — exact salaries 
are undisclosed. 

That most conservative of all Western 
cities, Portland, Ore., has just experienced 

, the delights of its first film ball. Doro- 
I thy Dalton and the Governor of. the 
| State led the grand march. Among the 
H four thousand odd who attended, Mar- 
||. garita Fischer and J. Warren Kerri- 
gan were there to add gaiety to the 





your best 


^ Eugene Strong, who played the part of 
Robert Clayton, the artist, in the serial, 
"The Crimson Stain Mystery," will support 
Emmy Wehlen in the Metro production, 
"The Trail of the Shadow." 

Maud Hill, who was the haughty leading- 
lady in the barnstorming troupe of the 
story, "The End of the Tour," playing 
Camille to Lionel Barrymore's Armand, has 
been engaged for a part in the Metro pro- 
duction, "The Lifted Veil," in which Ethel 
Barrymore will star. 

Popular masculine stars who will be seen 
in fancifully named photodramas are Bry- 
ant Washburn in "The Man Who Was 
Afraid," and Harry Morey in "Richard the 
Brazen"; another contrasting 
couple presented is Antonio 
Moreno in "The Magnificent 
Meddler" and William Farnum 
in "When a Man Sees Red"; two 
more who are right at home in 
the parts are Stuart Holmes in 
"The Broadway Sport" and 
George Walsh in "Some Boy"; by 
way of diversion, Jack Mulhall is 
presented as "Mr. Dolan of New 
York," while House Peters ap- 
pears as "The Lonesome Chap"; 
best and last of all, Jack Dever- 
eaux gives us "American, That's 

Carlyle Blackwell will .play a 
dual role in "The Price of Pride." 
Two half-brothers so closely re- 
semble one another that one is convicted 
of a train hold-up committed by the other. 
As leader of the bandits "going thru" the 
Pullman sleeper and relieving the startled 
passengers of their valuables, Blackwell is 
"the real thing" as a hold-up man. 

The sixth in the series of Mutual feature 
pictures starring Marjorie Rambeau is a 
picturization of Marie Van Vorst's novel, 
"Mary Moreland." 

George Webb, James McCandlass and Lin- 
coln Stedman will support the popular 
little actress, Ella Hall, who returns to the 
shelter of Bluebird's wing in "Little Fairy 

The birds of the air have their nests 
and the foxes their holes. Several new 
little foxes trotted into the William 
Fox cave — from the Universal nest 
came William Worthington; Clyde 
Hopkins from Fine Arts; Max Da- 
vidson from Triangle, and Mae 
Busch from Keystone. 



Violet Mersereau 
has signed for an- 
other year with the Bluebird 
Company; she is at present at the 

rLeonia (N. J.) studios, preparing to 
film "La Cigale," a play in which 
Lotta Crabtree starred about twenty- 
five years ago. 

Pearl White, the "Queen of the 
Serials," is nearing the completion of 
"New York Nights" and will soon com- 
mence work upon her next serial produc- 
tion, "The Fatal Ring." 

Milton Sills will play opposite Ethel 
Clayton in "Chasms," a Brady-made World 
feature picture. 

Here is a batch of real important studio 
news: Henry Walthall and Mary Charleson 
have severed their connection with Essanay, 
with future plans not yet announced; 
Myrtle Stedman has completed her con- 
tract with Morosco and an- 
nounces that she is going to take 
a long vacation; Mary Mac- 
Laren has resigned from the 
Universal Company and will 
head a new company known as 
the Mary MacLaren Company, re- 
leasing thru Horsley; Cleo Madi- 
son has cast her fortunes in with 
Capt. Wilbert Melville, formerly 
of Lubin, who is branching out 
with a new studio of his own; 
and lastly comes the big rumor 
that Charlie Chaplin is not satis- 
fied with his $640,000 per year 
pocket-money and is about to 
branch out as his own producer. 
Charlie, no doubt, will vote to 
give himself at least $5,000,000 per. 

J. Warren Kerrigan's first production — 
going it alone on his own, as an inde- 
pendent star at the head of his own or- 
ganization — will be "A Man's Man," a 
seven-reel feature released thru Paralta 
Plays. Peter B. Kyne, who wrote the 
book, makes his types of men and women 
the rugged, red-blooded sort, in novel and 
picturesque locales of scene, similar to Jack 
London's style. 

Mary Pickford last week donated an am- 
bulance of the latest type to the local Red 
Cross at Los Angeles. It was designed by a 
surgeon connected with the American Am- 
bulance Corps. It has twice the capacity for 
wounded cases as the present type. 

Sally Crute was married a couple of 
months ago to W. George Kirby, a Wall 
Street broker. They managed to keep their 
little secret for awhile, but the news 
just got out. They are honeymoon- 
ing in a delightful bungalow atop 
the Palisades-on-the-Hudson. 









Film favorites flit 
as fleetingly as fleas 
from one lot to another: Todd 
Browning jumped from Triangle to 
Metro, while Ralph Herz hopped 
from Metro to Selig; Arline Pretty of 
Artcraft, and Eugene O'Brien of World, 
leaped to Selznick; Helen Gibson 
bounced from Kalem to Universal; Sam 
DeGrasse of Fine Arts, and Geraldine Far- 
rar of Lasky, will flicker for Artcraft. 

Julian Eltinge, the artistic and beautiful 
female impersonator, has decided to take a 
shy at pictures. When playing in New 
York, the fair Julian always appears at his 
own theater, The Eltinge. It will be in- 
teresting to note how gracefully he will 
swish his skirts under The Famous Players 

The recent career of D. W. Griffith is 
shrouded in mystery. He is "somewhere in 
France," and recently he cabled a 
hurry call for several picture stars 
to join him there. It is presumed 
that Mr. Griffith is producing a big 
war-picture with the French firing- 
line for his setting. 

Here is another table d'hote of 
meaty news: Alfred Vosburgh will 
star for Vitagraph in place of An- 
tonio Moreno; Warner Oland has 
gone from International to Pathe; 
Bessie Learn, for many years with 
Edison, has been engaged by 
Famous Players; True Boardman 
has just left Kalem and has not 
yet announced his future plans; 
and Raymond Hitchcock, of 
Broadway and the world at large, 
will soon star for the Emerald 

The latest fad in the players' colony in 
Los Angeles is the giving of private swim- 
ming-parties. Recently Douglas Fairbanks 
acted as host upon the completion of his 
new swimming-pool; among those who 
splashed with "Doug" were Mary Pickford, 
Eileen Percy, Charlie Chaplin, Mrs. Pick- 
ford, and Ruth Allen. 

Antonio Moreno has joined the Astra- 
Pathe Company and will soon be featured 
in Gold Rooster plays — so the company 
says. Mr. Moreno, on being interviewed 
by our reporter, denies tl\f new connection. 
"O Antonio, Antonio! wfie.refore art thou 

Marguerite Courtot asks us to deny the 
statement that she is with the Pathe 
Company. She states that she never 
has been connected with them and 
that she is now preparing to star in 
"The Natural Law," produced by the 
France Films Company. 

'-— - 



As a tribute to the 

artistic manner in 
which "The Undying Flame" 
W was presented at the Rialto Thea- 

& ter, New York, Madame Petrova 
I presented the management with a 
magnificent silver trophy known as the 
Petrova Cup. Each season for the next 
ten years, exhibitors thruout the coun- 
try will compete for it. 

Prominent feminine stars are about to 
present the following oddly titled plays. 
First, Valeska Suratt in "She"; next comes 
Theda Bara in "Her Greatest Love"; Gladys 
Brockwell follows in "Her Temptation"; 
Fannie Ward appears in "Her Strange Wed- 
ding"; Gail Kane is featured in "Whose 
Wife?"; Ruth Roland goes one better in "The 
Neglected Wife"; Alice Brady in the "Self- 
Made Widow"; Evelyn Nesbit in "Re 
demption"; Regina Badet in "Atone- 
ment"; Louise Glaum in "Love or 
Justice," and Edna Goodrich in 

Illness has again overtaken 
Anita Stewart, and she announces 
that she will retire from produc- 
tion for about one month and 
recuperate in a sanatorium. The 
Vitagraph offieials and her 
friends are keeping Miss Stewart 
surrounded with souvenirs of 
their affection. 

Moving Picture stars in the 
New York colony have done their 
"big bit" in selling Liberty Bonds. 
"Mother" Mary Maurice and little 
Bobby Connelly demonstrated the 
childhood and old age of patriot- 
ism so well that they sold over $100,000 
worth in a Brooklyn department-store. The 
Sidney Drews, Ethel Barrymore, Mabel 
Taliaferro and a host of others obtained 
subscriptions by the thousands in New 

Vitagraph stars have made an arrange- 
ment with Witmark and Sons, the big song- 
publishing house, which will act as a mu- 
tual boost. Corinne Griffith and Walter 
McGrail are posing for the cover design of 
a new military song, "Good-by, Little Girl, 
Good-by." Adele De Garde illustrates a beau- 
tiful colleen for "Somewhere in Ireland." 

Mary Garden, the famous prima donna, 
says that voiceless singing is the easiest 
thing in the world. When asked how she 
was going to compensate for the loss of her 
voice in adapting the opera "Thai's" to the 
screen, she said, "I shall sing to my audi- 
ence with every fiber of my body — far 




more beautifully, 
have ever sun^ 

I think, than I 
with my voice 


Here's a bit cf 
grief for some of the 
maiden admirers of William 
Russell: Handsome William has 
spliced the matrimonial knot with 
Charlotte Burton. The marriage was 
a great surprise to all their friends in \ 
the Santa Barbara and Los Angeles film • 
colonies, but the romance has been 
quietly prospering for the past two years. 

Marguerite Snow sprang a delightful sur- 
prise upon the public by appearing at the 
Liberty Bond booth in a Brooklyn depart- 
ment store and by acting as a bond sales- 
woman for an entire day. The polite floor- 
walker whispers that the beautiful Mar- 
guerite made a stunning "girl behind the 

Speaking of Liberty Bonds, Douglas 
Fairbanks has come across with the big 
punch in buying $100,000 worth of the 
precious patriotic paper. John Em- 
erson, his director, and Anita Loos, 
his playwright, have each come 
across for $10,000 worth. 

The screen courtships of Earle 
Williams and Anita Stewart are 
still in the condition of "lovers 
once but strangers now." It was 
recently announced that they 
were to co-star together again, 
but Miss Stewart's illness has 
postponed the long-expected 
meeting. Corinne Griffith has 
been advanced to stardom and 
for the present will play oppo- 
siteEarle Williams. 
Francis X. Bushman and Beverly 
Bayne are having a wonderful 
time of it in their triumphal tour of 
the South. Birmingham, Ala., gave them 
a military ball; Nashville, Tenn., made 
them the feature of a big Red Cross 
benefit, and New Orleans crowned the 
fair Beverly the queen of its "Beauty 

William B. Davidson and "Villainous" 
Harry Northrup, in support of Ethel Barry- 
more in "The Greatest Power," got real rough 
with each other in a big fight scene. "Vil- 
lainous" Harry was knocked under a table, 
where his hand was badly cut by broken 
glass. In the meantime, he had landed 
squarely on Bill Davidson's nose, starting 
the gore and breaking the cartilage. In 
spite of this, they are still the best of 
friends. , 

Theda Bara has recently arrived in 
Los Angeles, where she received a 
royal reception from the film colony. 
Miss Bara will immediately start 
work on the much-talked-about pro- 
duction, "Cleopatra." • 

'" - "~-- merit is for infor- 
but questions pertaining 
photoplay writing, and 
-•,._ answered. Those who desire 
film manufacturers, must en- 
Ad- dress all inquiries to "Answer Depart- 
the paper, and using separate sheets for matters intended for other de- 
partments of this magazine. When inquiring about plays, give the name of the company, if possible. Each 
inquiry must contain the correct name and address of the inquirer at the end of the letter, which will not be 
printed. At the top of the letter write the name you wish to appear. Those desiring immediate replies, or 
information requiring research, should enclose additional stamp or other small fee; otherwise all inquiries 
must await their turn. Read all answers and file them — this is the only movie encyclopaedia in existence. 

This depart- 
mation of general interest, 
to matrimony, relationship 
technical matters will not 
answers by mail, or a list of the 
close a stamped, addressed envelope, 
ment," writing only on one side of 

Olive, 15. — The war hasn't interfered with 
my department as yet. I get just as many 
letters. Edna Goodrich and Juan de la Cruz 
in "The House of Lies." You just write to 
me whenever you feel like it. 

Harry M. — Herschel Mayall was the King, 
and Howard Hick- 
man was Count 
Ferdinand in "Civ- 
ilization." So you 
think I am not so 
sarcastic as I used 
to be. Perhaps I 
have not cultivated 
courtesy. Nothing- 
costs less nor is 
cheaper than the 
compliments of civ- 
ility. Chapin and 
Chaplin are two 
different persons — 
entirely different. 

A. E. T.— Mil- 
dred Harris was 
Mary in "The Bad 
Boy." Yes, that 
was Constance Tal- 
madge's mother in 
"The Girl of the 
Timber Claims." 
You think Marjory 
Wilson and Vivian 
Rich look like sis- 
ters. Jack Rich- 
ardson is with 

Ignatius. — I have 
no caot for that 

To the Answer Man 


You're wondrous wise, 

Your name we do not know; 
You're up on all the stars and guys 

Of every movie show! 
You say you haven't any hair 

And wear a flowing beard — 
Which, with your spectacles so queer, 

Must make you look quite weird. 
You claim your age is seventy-four 

(Which puts you close to heaven), 
Divide by two, for you're not more 

I bet than thirty-seven! 
Your wit is keen, your knowledge deep, 

But I must cease my praises — 
"Too long!" you'll murmur in your sleep 

One of your favorite phrases. 
So "Rippy," dear, I raise my glass 

To you and all your fame; 
My Birthday wish that every lass 

Will some day learn your name! 
From time to time I'll always come 

To you with all my troubles — 
With love and joyous wishes from 

Your loving little 


play. Sorry. Ac- 
cent on the first syllable. Any one may send 
in cartoons, but we are not using as many 
of them as formerly. 

Alma H. — Oh, I get to churcn sometimes. 
You think Francis Bushman puts too much 
make-up on. Nothing doing on that kind of 

Mugy H. F. — Francis Bushman is a friend 
of mine, and I am sure I said nothing 
against him. If I did, I am sorry. 

Sophomore. — Great guns! Run out of 
questions? No, indeed. I usually run out cf 
space. Last month there were two galleys of 
proof left over. A 
picture of Richard 
Travers under way. 
White-Hale Ad- 
mirer. — "Good 
enough" is not good 
enough unless it is 
your best. How of- 
ten we hear people 
say "That's good 
enough ! " Niles 
Welch is with 
Technicolor. Write 
our Mr. Harring- 
ton at this address. 
Alicia H.- — Yes, I 
wept when I saw 
"Lilac Time." The 
deer sheds his ant- 
lers every year, the 
camel his fur, the 
snake his skin, the 
crab his shell — but 
some humans cant 
shed even a tear 
once in a lifetime. 
Lillian Wade, you 
mean. Th e 1 ma 
Salter is about eight 
years old. Florence 
Lawrence is not 
playing now. Yes; 
Florence Lawrence 
and Arthur Johnson. Thanks for all that. 
A. L. A. — I did like your letter, yes indeed. 
Cherry Sundae. — Roland Bottomley is 
with Balboa. You want to know if the 
church in "War Brides" was a Catholic 
church. This is quite beyond my jurisdic- 





Olga. — Thanks for the little jar of cheese — 
it was great! Satisfactory cheese cannot al- 
ways be made from goat's milk, however, 
because the goat is a butter. Annette Keller- 
mann is Mrs. James R. Sullivan. 

Sophomore. — You here again? Ann Penning- 
ton is dancing in Ziegfeld's "Follies" atop 
the Amsterdam Theater. Some one said that 
there were too many roof-gardens and not 
enough vegetable-gardens in New York City. 
Thanks, I dont need an assistant just now. 

Retde R. — I'll answer your question fully. 
More macaroni is grown in North Dakota 
than in any other State in the Union. The 
stalk reaches maturity when about three 
months old, and contrary to general belief 
does not grow with a hole in it like bamboo. 
Macaroni farmers waste a good deal of it in 
boring a hole in it, which is a silly fad, be- 
cause it destroys nutrition and saps the 
strength of the macaroni stalk. Think it 
over, Reide. 


M. E. B. — Mary Martin was Hester in 
"Scarlet Letter." Never heard of the concern 
you mention. Thanks for the nice things 
you say about this department. Always glad 
to get them. 

Country Lover. — So you really liked 
"Enlighten Thy Daughter," and you feel sure 
that any girl who sees it will never go 
wrong. You want a picture of Zeena Keefe 
in the Gallery. Thanks. 

Carmen R. — You want pictures of Richard 
Sterling, Richard Travers and Harry Ben- 
ham. I dont care how old you are, as I am 
always glad to hear from my readers. 

Lena L. — Awfully sorry to hear ycu were 
ill. Hope you will be able to go back to 
school in the fall. 

Fox Stew. — I doubt whether "Gloria's 
Romance" has been published in book form. 
Anita Stewart was born Feb. 17, 1895. This 
is absolutely right. You would like to see 
Anita Stewart and Earle Foxe play opposite. 

Baby Blue Bird. — William Riley Hatch 
and Bruce McRea in "Hazel Kirke" with 
Pearl White. 

June, 15. — It's no bother. My cranium is 
as chuck full as Pandora's box. Only I keep 
my lid on and Hope stays with me. De Wolf 
Hopper and Bessie Love featured in 
"Stranded." Dont know if they ever did out- 
side of the Triangle studio. You had better 
send for a list of manufacturers. Charles 
Ray and Margaret Thompson in "Honorable 
Algy." Awfully sorry, honest I am. 



Sarxia. — Yes, I saw the play "Within the 
Law." You must remember that the plot is 
fine, and admits of fine opport nities. You 
refer to Sue Balfour as Mrs. Clark in "The 
Great Secret." Miriam Nesbitt is with Art 
Dramas Pretty sure Clara Young will send 
you her picture. Thanks, I enjoyed yours 
very much. 

Taylor. — Rudolph Cameron was Bob and 
Charles Stevenson was Col. Taylor in "The 
More Excellent Way." 

you haven't seen her opposite Wallace Reid. 
Victoria Forde was with Fox last. Bess 
Meredith was with Universal last. 

Hard to Succeed. — I'm sorry for this. I 
know of no studio in St. Paul. 

Dutch. — So you live forty miles from a 
picture theater, and you say it almost kills 
you. Just think of this, girls — how fortu- 
nate you and I are. You just write to me 
whenever you feel like it, and as often as 
you like. 


Chicken Casey. — Didn't see Bobby Con- 
nelly in the fishing scene of "Her Right to 
Live," but I'll believe you that he acted as 
lively as an eel. Never know what that 
jack-in-the-box youngster will do next. 
Louise Huff and Jack Pickford in "Seven- 

Mary. — Creighton Hale is back with Pathe, 
and Arnold Daly was playing on the stage on 
Broadway. The Strand Theater shows Para- 
mount and Vitagraph pictures, and the Rialto 
shows different features. Broadway Theater 
also shows Moving Pictures, but their plays 
usually have a two weeks' run. 

H. M. L. — No, I am not a pdre de famille. 
Cleo Ridgely has been ill and that is why 

Marion T. — Miss Impudence! You must 
respect my age and gray hairs, or I shall 
be compelled to sue for breach of etiquette. 

Evert. — Of course I am 75. You want me 
to define love. That's pretty hard. Look for 
it later, I am not in the mood just now. 
William Courtenay is on the stage playing 
in "Pals First." I know players dont want 
mushy notes. Write them if you must, but 
throw them in the waste-basket afterwards. 

Elsie G. — Geraldine Farrar will appear in 
new Artcraft Pictures. Gladys Brockwell 
with Fox. Ha ha, he he, ho ho, and then 
some. You ask why is a sad iron so called; 
because it depresses the very freshest little 



D. T. G., Orange. — Charles Gunn and George 
Fisher in "Three of Many.". Sneezing and 
laughter are infectious, but who wants to be 
a sneeze? Niles Welch was Trafton in "Miss 
George Washington." Willard Mack was the 
Constable in "Nannette of the Wilds." 

Ralph Kellard Fax. — Interview? Yes, 
later. No record of the player you mention. 
You cant expect to receive an answer from 
a player that soon. 

Nellie J. L. — Alfred Vosburgh was with 
Kay-Bee last. Another new correspondence 
club, the "Lady Anne Schaefer Club." Suc- 
cess to you. Most people dont acquire a dis- 
taste for evil things naturally and you know 
that. It's too bad. 

Margaret F. — The man who does things 

will make mistakes, but 

he never makes the 

greatest mistake of all 

— doing nothing. You 

mean Wilfred Lucas. 

was a fake. Most unkind of you, to say the 
least. Mary Pickford has a very sweet voice 
and her hair is real. She took off a most 
beautiful white Georgette (guess that's what 
it was called), and had me examine them. 
She is true blue and everybody loves her. 

Inez. — Edna Wallace 
and De Wolf Hopper were 
once twain. She is now a 
grass widow and he is a 
g r a s s-h o p p e r widower. 
Henry Walthall in 
"Ghosts." Alia Nazimova 
is Mrs. Charles E. Bryant 
in private life. Juanita 
Archer was Johanna in 
"Ghosts." Al Filson was 
the doctor. 

Annette G. 
B.— I thank 



Douglas F. and William S. Hart Fan. — 
Alice Joyce and Tom Moore were married 
May 11, 1914, at Jacksonville, Fla., and Mary 
Pickford and Owen Moore were married June 
24, 1916, at San Juan, Copistrano, Col.; and 
Grace Cunard and Joe Moore were married 
Jan. 10, 1917. You would take up the whole 
Magazine if I answered all you want. Better 
send a stamped, addressed envelope. Harold 
Lockwood and May Allison in "Big Tre- 
maine." William Desmond and Bessie Barris- 
cale played in "A Corner in Colleens" and 
"The Last of the Ingrams." Dont believe all 
you hear. 


Peggy of Crabtown. — Just to prove that I 
know everything and cant answer any ques- 
tion — shredded-wheat biscuits are made from 
the skirts of hula-hula dancers, which are 
discarded each year and are found in large 
quantities by the beach-combers on Waikiki 
and other beach resorts in the Hawaiian 

Silver Spurs. — She might get a servant's 
part. I dont know why you call servants 
domestics when, as every one knows, they are 
mostly foreigners. Earle Foxe told me him- 
self that he was going to play in a serial 
with Pearl White, but I have heard nothing 





Kitty Carlyle. — You say, of the seven 
magazines you get monthly, you believe 
ours is the best. We thank you. I thought 
the July was about as good as any we ever 
put out. You refer to Vera Sisson; not 
Harry, but Robert Burns. 

A. M. — Conway Tearle has been on the 
stage mostly, and in fact is playing now in 
"The Fugitive," with "Emily Stevens. 

W. W. W., Ohio. — Yes, William Farnum 
had a dual role in "A Tale of Two Cities." 
Your father is right. Your letter was not too 
long. I cant quite figure out what I am: "At 
10, a child; at 20, wild; at 30, tame, if ever; 
at 40, wise; at 50, rich; at 60, good or never." 
At 75, I should be all of these, but I'm not. 

I. B. Interested. — Bessie Eyton was Helen 
in "The Spoilers." You sure do stand up for 
William Farnum. Sorry we cant print your 

Little Nell. — Elsie Jane Wilson was 

Madame Maroff in "Temptation." Dick Le 
Strange was Tamarack in "The Call of the 

Walthall Admirer. — Nat Goodwin, Con- 
way Tearle and Lillian Russell all believe in 
"If at first you dont succeed, try, try again." 
Anna Mae Walthall is a sister to Henry. 
Your letter was all right. 

Elizabeth L. C. — I dont quite get you in 
your first. Francis Ford remains with Uni- 
versal. I took that day off and read your 
letter as you suggested. 

Alice K. O.; Miss Siwaxoy; E. W. Troy; 
Mary R. E.; Emily G.; Lizzie C; F. P. S.; 
Phelps; Admirer of June Caprice; and W. 
S. — Sorry, but your questions have been an- 
swered before. 

Marjorie C. M. — You failed to enclose the 
extra stamps as you said. Better send a 
stamped, addressed envelope for your ques- 



Elizabeth P. K. — We carried a picture of 
Niles Welch in November, 1916. He played 
opposite Kitty Gordon in "The Crucial Test." 

Buckeye Maid. — So you think Warren 
Kerrigan has a glorious voice and a magnetic 
personality. Quite so. 

Monkey Eyez. — You refer to Harold Lock- 
wood. You should consult another kind of 
Answer Man — a physician. 


Vyrgynya. — A thousand thanks for the 
handsome "snap" of yourself. What beautiful 
hair! Please dont go! Come back! I en- 
joy yours much! 

. Margaret S. — Progress has two friends — 
the conservative and the radical — and she 
seems to walk right between the two. No 
record of William Shay. Sorry. How many 
times have I said that you must not believe 
all you hear! Reputations, like mushrooms, 
grow and crumble in a day, because of 
scandalmongers and quick believers. 

Inquisitive Sue. — Dorothy Davenport was 
in "Treason." "It makes a difference" last. 
So you like Carlyle Blackwell in "Broken 
Chains." If you are satisfied with your 
education now, you will never get any fur- 
ther in this world. 

Arline. — Your drawings are pretty good 
likenesses. I cant think of a verse now, but I 
wish you all the happiness in the world. 

Mrs. E. A. C— Thanks for 
the fee. I doubt whether 
Marc MacDermott ever played 
in a serial — I think not. 
Harold Lockwood was Freder- 
ick Graves. E. K. Lincoln in 
"The World Against Him." 
George Fisher was Arnold in 
"The Gentle Intruder." Charles 
Hines was Joe in "The Argyle 
Case." Jack Mower is with 
American. Corinne Griffith in 
"Ashes." I guess they are 
teasing you. 

Ilona H. M.— I believe 30 
is the last birthday for 
women. You just stop in. 

I. M. A. Friend.— Glad to 
hear it. You say you are 
convinced that I am a man, 
because I smoke a pipe. You 
are a born Sherlock Holmes, 
and you are really quite a dis- 
criminating critic. Earle Will- 
iams was admirable in his 
portrayal of the strong char- 
acter of John Storm in "The 
Christian." You would like 
to see "The Quick or the 
Dead" on the screen. Amelie 
Rives might consent. I can 
tell you the difference be- 
tween 'em. Them what gets 
out of the way of the autos 
and them what dont. 

Grace, Detroit. — Ruth Dar- 
ling is with Fine Arts. Jewel 
Carmen has been on the stage. 
She wore a wig. No, I didn't 
see Gen. Joffre when he was 
in New York, but he was only 
a block away from me in the 

L. W. H.— Yes, I have 
seen that letter before. Guess 
that player is doing some cir- 

Marion Mc. — We printed 
"Zaza" dn the November 1915 
Classic and "The Moment Be- 
fore" in June 1916 Classic. Write to our Cir- 
culation Department for back numbers. 

Eunice M. — Nothing about Clio Ayres. But 
you must not fret. Horace Fletcher, pro- 
fessor of menticulture, says that anger and 
worry are the foundations of every evil ex- 
cept corns. 

Movie Mad. — It isn't "The Hunted For- 
tunes," nor "The Mistaken Fortunes," but 
"The Fortune Hunters." Vitagraph and 
Lubin produced it. You must get the titles 
right. Mary Pickford in "Hearts Adrift." 



Eltoh, 24. — No,never been in Australia. You 
ask if Kitty Gordon and Julia Swayne Gor- 
don are any relation. No. You say Gladden 
James reminds you of a frightened rabbit. 
Yes, the same J. W. Johnston. He is with 
Pallas now. Billy Quirk is with Gold Medal. 

R. M. Reedley. — Haven't heard of that 
revue as yet. Yes; Mary Pickford played 
for the old Imp company. Exit Chaplin,' 
enter Fairbanks. He is certainly making a 
clean sweep. 

Mormon N. — You ought to be able to get 
a ukelele for about $5.00. You can get them 
at p.ny music store. 

Kerrigan Fiend. — Thanks for welcoming 
me into the Scroll Club. I am delighted to 
be one of you, and I thank all of you who 
have written me such nice letters of welcome. 

Tom, 55. — Glad to know you. Sometimes. 
Why, yes; Marguerite Clark was born in 
Cincinnati in 1887. Good future outlook 
for you. "Blessed are the meek, for they 
shall inherit the earth" — when the others 
are thru with it. 

Vera Nutti. — Thanks. Yes, Herbert Prior 
was the doctor in "Poor Little Rich Girl." 
Charles Wellesley was her father. Come in 





Olga, 17. — So you think Clara Young is 
neglecting her looks. Yes, David Powell was 
opposite her. Dry cleaning was invented 
to keep people from getting wet. 

Bushman Fan. — Joseph Kaufman is a 
Famous Player director, James Vincent a 
Fox director, Robert Vignola a Lasky direc- 
tor, Francis Ford a Universal director and 
James Kirkwood a Mutual director. Thanks. 

H. D. — Sorry, but I cant print your verses. 
They are too long. The jelly bean was in- 
vented by Elita Proctor Otis in 1861, and was 
the principal sustenance of the Southern 
army during the Civil War. 

Charles B. — I believe I returned your 
picture. I would advise you to write to some 
company and explain the series to them. 
Send for a list of manufacturers for ad- 

Jessie B. A. — Thanks. 

Dot B. — The glass of fashion today re- 
sembles a kaleidoscope or a scrambled Easter 
egg — such a dazzling riot of color! Some 
color combinations no Cubist or Futurist 
artist would paint. A walking rainbow or 
rainbows on parade. Mary Miles Minter is 
with American. Dan Hanlon was Bill and 
Lionel Adams was George in "The Great 
Problem." They are not married. Thanks. 

Joe Nelly. — No, we have never carried a 
picture of Claire Whitney. Gladys Brock- 
well in February 1917 Classic. Anna Luther 
is with Kay-Bee. William Farnum still 
with Fox, and Ruth Roland, after taking a 
husband, has gone back West. 

Robby D. — Watcha trying to do, take my 
job away? Nothing doing! 

D, F. H. S. — Yes, Marguerite Clark stays 
with Paramount. Yes, that was the original 



Laura L. C. — Billie Rhodes lisps, but she 
doesn't say "Thweetheart, path the thuger." 
Altho that depends upon whom she is ad- 
dressing. She is still with Christie Co. 
Vivian Martin is Nell in "The Stronger 

H. G. D. — Yes, Mrs. Vernon Castle is doing 
very well in that series. Charles Ray — I'm 

Hector W. — I understand that she was a 
grass-widow. So called because they dont 
let any grass grow under their feet. If you 
want to stand in with a grass-widow, tell 
her you're a vegetarian. Last I heard of 
Constance Talmadge she was joining Para- 

G\ C. — Yours was very interesting, but you 
dont ask questions. 





Miss E. P., Victoria. — I'm glad you aren't 
going to ask how to get in pictures. That 
is the favorite question. Sessue Hayakawa 
was Lin Foo in "The Secret Sin." House 
Peters and Dave Wall played opposite Mary 
Pickford in "The Bishop's Carriage." I shall 
always remember that as one of Mary Pick- 
ford's best. 

Jenny L— Your first offense — I'll be leni- 
ent. Dorothy Dalton is with Triangle at 
Los Angeles, Cal. You dont mean Walt 
Whitman, do you? 

E. S., Joliet. — Theda Bara was interviewed 
in April 1917 Classic and the April 1916 
Magazine. Corinne Griffith is with Vita- 

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Irene 0. S., New York. — There are a num- 
ber of studios in Fort Lee, N. J., which is 
just across the Hudson River from New 
York. Violet Mersereau is living at the 
Apthorp Hotel, New York City. It is better 
not to have a pain than to seek an antidote 
for it. 

Linnie T. — I wish I could tell you what 
has become of Alkali Ike and likewise Gene 
Gauntier. I guess they have dropped out of 
the pictures for a while, and it's a shame. 

Jessie R. A. — When you get so that you 
make "long teeth" over everything you do, 
it is time to buy yourself a floral design. 
Lou-Tellegen and Nell Shipman in "The 
Black Wolf." Yes, D. W. Griffith is a won- 
derful man, so are they all, all wonderful 

S. Y. L. — I am sorry, but there is little 
chance to get a child in pictures these days. 
There isn't much demand for children, and 
besides 'most all companies have several 
children at hand that they can hire for any 
particular picture. 

Marion E. S. — Henry King was Hal with 
Little Mary Sunshine in "Joy and the 
Dragon." I enjoy eating immensely. The 
only trouble is I dont hold enough. I'll 
have to get a stomach pump, for then I can 
eat two or three table d'hote dinners and 
enjoy them all. 

Inez. — You here again? Wallace Reid was 
Frank and Blanche Sweet the girl in "For 
Her Father's Sins." Gladys Hanson in "The 
Primrose Path" (Pathe). Al Filson was the 
manager in "Bred in the Bone." Frank 
Jonasson in "The Parasite" (Kalem). 

Gilma L. — All right, I was glad to get your 
letter. It was very helpful. That's right, 
just say what you want. The only way to 
get anything in this world is to make a kick 
for it. Edith Storey and Earle Williams 
were the stars in "The Christian." 

Violet B. — Success is a combination of be- 
lieving in yourself and making the other 
fellow do the same thing. Frank Jonasson 
was Ace Brent in "The Girl from 'Frisco." 

Archie J. — I dont think Theda Bara an- 
swers mail personally. She has a secretary. 
Well, Edward Earle is quite a favorite. 

Hershal. — You say you wouldn't want my 
job. Well, I wouldn't want you to have it. 
Ernest Forti was Pietro. Everybody has 
time to do what he really wants to do. 

Sunny Old Spokane. — Thanks for the 
compliment about our covers. 

Ivan I. — He should have been hanged for 
smoking that brand of rope. I've heard that 
smoke will keep mosquitoes away, but I'd 
advise you to choose the mosquitoes in place 
of that brand of cigar. See April 1917 
Classic for the puzzle. 



Mailton, Canada. — Donald Cameron played 
opposite Lillian Walker. She is now in 
Ogden, Utah. Tell your theater manager 
about it. 

Movie, Virginia. — Pearl White has a home 
in Bayside, L. I., but she usually stops at the 
Astor when in N. Y. Thanks for clipping. 

Flossie. — You can reach Mrs. Blackton and 
her charming kiddies at her home at 213 
Clinton Ave., Brooklyn, N. Y. 

Toodles. — Just write to any of the clubs I 
have mentioned elsewhere and you will get 
attention. You say you would like to get a 
peep at me. All right, come along and get it. 

Viola. — You send a long list of players and 
ask their ages. This would take too much 
time to find, and besides you must keep 
posted from the chats, etc., that appear. 

Lillian L. — I think you have the wrong- 
title on that play. Thanks for the pictures. 
Sorry you did not win in the guessing con- 
test. The greatest guessing contest I know 
of is the one I see in the papers every 
morning, conducted by the Weather Bureau. 

Skarabanda. — Dorothy is a Greek name 
meaning "The gift of God." A pretty name, 
tho. You certainly have enough theaters in 
your town. No wonder you see so many 
films. I think you are all right. 

Lucius C. — Most people who claim they 
want justice are lucky if they dont get it. 
H. B. Warner was with Selig. 

Anita W. — Sorry, but I have no cast for 
that play. More people would throw away 
their smoked glasses if they knew that 
happiness was only a point of few? Bertha 
Kalich and Stuart Holmes in "Love and 

The Bob Leonard Club Girls. — What a 
happy lot you must be! Last I heard of 
Robert Leonard he was with the Lasky 
Company. You might write to him. 

Nina G. — I am sorry you are sad. Cer- 
tainly you may ask more questions. There's 
a skeleton in every corset, as well as in every 
closet. I wont tell you what the one in my 
closet is. 

Billy J. H. T. — Octavia Handworth is not 
playing just now. No, we haven't had a 
picture of Elliott Dexter. Tell your little 
sister we shall have one soon. You can 
address him Morosco, Los Angeles, Cal. 

Skarabanda. — Some people are good be- 
cause they find it cheaper than being bad. 
Yes, Stuart Holmes was good in "The Scarlet 
Letter." I mean, he did good playing; he 
was quite naughty otherwise. You send in a 
sort of photoplay review. 




Beatrice de B. — Yes, I have noticed that 
expression in E. H. Sothern's eyes. I shook 
hands with him not so long ago. Thanks for 
that very beautiful description of your 
garden. It made me feel quite refreshed. 

Lena L. — T referred 
to all the slapstick 
comedians when I 
said: "Chaplin et al." 
"Who's Al?" you ask, 
"and why did Chaplin 
eat him?" Ye gods! 
Look him up in the 
dictionary. Raymond 
McKee was Danny in 
"Sunbeam." Of course 
I like typewritten let- 
ters. They are a re- 
lief sometimes. En- 

Lester W. H. O. — 
Better write the play- 
ers direct for pictures. 
Ivor McFadden was 
Billy in "Measure of a 
Man." Thanks for the 

Farmer R. F. D — 
Of course Harry Hil- 
liard is a star. So you 
prefer to have the 
husbands and wives 
play opposite each 
other. You must stop 
in to see me when you 
come to New York. 

Gussie J. — Glad to 
see you again. Thanks 
for the pressed flow- 
ers. Irving Cummings 
is with Fox. Violet de 
Bicard was Anna in 
"The Unwelcome 
Mother." You refer to 
Elmer Clifton. Thanks 
for all you say. 

Dan, 88. — Oh, well, considering what most 
people are willing to do for nothing, it's a 
wonder that we are not all millionaires. I 
haven't the faintest idea where Ormi Hawley, 


Chorus-girl, show girlie, "extra" girl! 

You haven't amended your ways — 
In winter, the top floor back-room, 

In summer, the beach and swell days. 

Lottie Briscoe and Florence Lawrence are. 

They seem to have dropped out of sight. 

Alice Hollister is with Famous Players, and 

Robert Leonard is with Lasky. 

J. C. W. — I dont know why the Triangle 
Theater, in Brooklyn, 
is now exhibiting Par- 
amount pictures, ex- 
cept that the lease 
was assigned by the 
former to the latter. 

Frank A. O. — Put 
your temples forward 
—not your jaw; the 
one s h ow s mental 
strength, the other 
physical. S p o 1 1 i s- 
woode Aitken was the 
president in "The 
Americano." Eric 
Campbell in the Chap- 
lin comedies. I was 
sorry to hear of your 
illness and hope you 
are recovering. 

Cricket. — Glad t o 
hear about your fav- 
orites, thanks. 

I. B. Interested. — 
Of course you must 
obtain the author's 
permission, unless the 
copyright has run'out. 
So you think Douglas 
Fairbanks is second 
cousin to perpetual 
motion. Your letter 
was full of good 
wishes, and I thank 

Ice Bo x. — Sounds 
good on a day like 
this. Yours was good, 
as far as it went. I 
am very fond of 
Shakespeare. He bor- 
rowed from every source, but he contributes 

to every need. 

Kentucky Lassie. — Thank you a whole lot 

for the pretty "snaps." 


Maude — Pretty tough on our new leading-man today. 

Kitty — Whyfore? 

Maude — He's got to save me from drowning, and he cant swim a stroke. 



Lee H. — Thanks for giving me your ad- 
dress. You say you are "Yours, still lone- 
some, Lee Hudson, Jr., 701 E. 16th St., Chat- 
tanooga, Tenn." 

Marion. — If you give us time, we will get 
around to all the players. Pauline Freder- 
ick's picture on last month's Magazine. I 
enjoyed your criticism. 

Malvalow. — Napoleon said, "Men err not 
so much in prompt action as in hasty judg- 
ment." Take heed. James Cruze was the 
detective in that play. 

Edgar Davenport was Beauvois in "Worm- 
wood." Harry Springier in "Bondsman." 

Sweet Sixteen. — Bryant Washburn's wife 
was a player. We ought all to help our- 
selves. The Lord freezes the water, but we 
are expected to cut our own ice. 

Togo. — Camera-man's duties are the taking 
of the picture. To set up his camera when 
instructed by the director, to include the 
scene pointed out by him, to begin turning 
and to stop turning when told by the 
director, to keep his camera in adjustment, 


Black Pete — Now, I wonder if that's the regular stage going thru with the strong- 
box, or just one of them darn Moving Picture concerns coming up here to take pictures. 

Princess Eleanore. — Your definition of 
coiffure is good: "An insurmountable obsta- 
cle, obstructing the view. To be found in all 
public places, principally Moving Picture 
theaters." I will see what can be done for 
you. I wish I could have printed your letter. 

Grant Mc. — Georga Probert is with Pathe. 
H. E. Herbert and Theodore Von Eltz in "His 
Wife." Dot Bernard is with Art Dramas. A 
nice chat with her under way. Arline Pretty 
played in one Artcraft. 

Baby Vamp; K. G. S.; J. W.; Helen B.; 
Dorothy K.; Ima Nutt; Nellie L.; and 
Lenore W. — Thanks. 

Douglas. — Violet Wilkie was little sister 
in "The Children Pay." Loretta Blake was 
Christine in "His Picture in the Papers." 

to keep an ample supply of film for require- 
ments, and to turn over to the factory a 
correctly exposed roll of film, having upon 
it a record of the scene from the word "start" 
to the word "stop." Fred Mace died Febru- 
ary 23. I would advise you to write again 
and send it registered, and request a receipt. 
Vyrgyxya; Kerrigan Fiend; Lillis St. 
Clair: Margaret Mc; Helen L. R.; Emma 
K.; Gertie; Esther M. T.; Betty of Mel- 
rose. — I want to thank you a lot for remem- 
bering me with your thoughtful cards. You 
see, I am a very smart man, because I live 
on my wits. Only a very smart man can 
get along on such small capital. I have 
added the cards to my storehouse of treas- 



Emma S. — No; I seldom talk to any one 
over the 'phone. I dont hear well. If I 
said I did, I could not get time to do any- 
thing else. You want a picture of Warren 
Kerrigan on the cover. I told the Editor, 
and he said he would grant your request. 
Jessalyn Van Trump is not playing now. 
Mae Gaston opposite Crane Wilbur in "Spite 

Birdie. — The sacred idol of Buddha in "The 
Master Key," Universale play of mysticism, 
was an exact replica of that worshiped by 

rose Path." Camille Astor is still playing. 
Nell Shipman in "Melody of Love." 

Kerrigan Fiend. — So you, too, are raving 
about J. Warren Kerrigan. Sorry I cant 
print your letter. Yes, Clio has been asking 
for you. 

Movie Children. — Edwin Stevens was Ali, 
and Florence Malone was Princess in "The 
Yellow Menace." Look up April 1917 Classic. 

E. A. J. — You might write the photogra- 
phers. A picture of Billie Burke in Febru- 
ary and July 1916 Classic. 


the followers of that faith about the 5th 
century, B. C, in Northern Hindustan. 
Robert Leonard played the leading part and 
staged it, and is therefore entitled to great 
credit. Some natives from India now in 
America participated, also some Californian 
beach-bronzed natives of America. 

Kerrigan Admirer. — Marshall Neilan is 
with Lasky. Just renewed his contract for 
2 years. He is married to Gertrude Bam- 
brick. Even experience is unable to teach a 
fool anything. 

Clover Bell. — Allan Murnane was Arthur 
in "The Mystery of Myra." Hal Forde was 
Ned and Gladys Hanson was Joan in "Prim- 

Jane Canuck. — But one half of the world 
cant understand how the other half can live 
without it. Carl Van Auker in "The In- 
trigue." You will have to get U. S. stamps. 

Inez. — Yes, Holland is indeed in Dutch. 
Gertrude McCoy and George Lessey had the 
leads in "A Fresh Air Romance." Evabelle 
Prout was the bare-back rider in "Not on the 
Circus Program." You refer to Richard 

R. C. Gordon. — You say that May Allison 
and Harold Lockwood did play in "The 
Masked Rider." I thought it was Cleo 
Ridgely. The Child Labor bill was signed by 
President Wilson September 1st, 1916. 


Look to 
Nela Park 
for Better 

<J What miracle is this, that until late at night the 
streets and shops continue to blaze as brilliantly, 
almost, as under the noonday sun ! 

<J National Mazda makes the day as long as you 
choose to have it. 

IJ And if lighting headquarters has so revolution- 
ized our habits of living, why can they not upset 
our other traditions? They can and they do! 

<][ At your favorite theater you will soon be looking at 
Better Pictures — clearer, sharper, steadier pictttres — 
because of Nela's newest discoveries. For data on any 
motion picture theater lighting problem, ask NeJa 
Specialties Division, National Lamp Works of General 
Electric Company, 126 Nela Park, Cleveland, Ohio. 

When answering: advertisements kindly mention MOTION PICTURE MAGAZINE. 



Eva A. — You say you are a toe-dancer and 
have stiffened toe-slippers, and that Pavlowa 
has her own patent, but since I am not up 
on toe-dancing I cannot advise you. I'm 
afraid I shall have to take your advice and 
dispose of that picture by placing it in .the 

Luella, 16. — Owen Moore opposite Mary 
Pickford in "Mistress Nell." You ask for a 
picture of Howard Estabrook on the Classic 

Caprice Admirer. — "The Girl Who Lost" 
was one of Cleo Madison's pictures. I guess 
you mean Ethel Tearle. Yes, Hazel Daly in 
"Skinner's Dress Suit." The Dodgers are 
always slow in getting started, but they 
sometimes come out first in the end. 

Trixey. — Richard Barthelmess as Robert 
in "The Valentine Girl." I am glad you are 
attending to business. Progress, success and 
power reduced to their lowest common de- 
nominator equal Duty Done. 


L. W. H. — You want a Gallery picture of 
Ann Pennington. John Emerson' directs. 
Never carried the story of "Panthea." Lor- 
raine Huling is with Thanhouser. Florence 
Dagmar with Kay-Bee. All the players you 
mentioned have played for Edison. So you 
thought Julius Steger was great in "The 
Stolen Triumph." 

Haffie. — Frank McGlynn was Trask in 
"Gloria's Romance." 

Juno. — You seem to haye a grouch. Why 
not take Douglas Fairbank's advice — "Keep 
a smile on your face till 10 o'clock and 
it will stay all day"? Dolores Cassinelli was 
to play in her own company. 

Cape Cod. — Billy Sunday is the Charlie 
Chaplin of the pulpit. Of course I have been 
up to the Tabernacle and hit the sawdust 
trail. See Valeska Suratt in "New York 
Peacock." You say you didn't care about 
her in that costume. Hobart Bosworth and 
Jane Novak in "Scarlet Sin." Ada Gleason 
was Kitty in "A Voice in the Fog." Kath- 
erine is older than Jane — 4 and 7 years. 

Fraxkie. — The very best advice I can give 
you is, do right and fear no man; dont write 
and fear no woman. I am sure you will 
come out all right. I am always glad to 
listen to your troubles if you must tell them 
to some one. 




Just the Thing 

for Your 
Room or Den 

Just the Right 

Size to 
Mount or Frame 

A Wonder Set of Art Portraits 1 

80 in All— Including All of | 
the Leading Picture Players 

From coast to coast of this great country, from Maine to Texas, in every city, |j 

town, hamlet and crossroads, there may now be found in thousands of homes re- ^ 

markable collections of portraits cut from the Motion Picture Magazine and Classic m 

by enthusiastic picture fans. §§ 

In order tc enable our readers to preserve their copies of the Magazine and Classic, and still secure ^ 

a fine collection of portraits, we are now offering to each subscriber to either the Magazine or Classic, m 
on the payment of 15c. extra for postage and mailing, an unusually fine set of 80 — 4^x8j4 roto- 
gravure portraits, which you will find just right for mounting or decorating purposes. Here is the list. 

You will find all of your favorite names included. = 

Jackie Saunders Jewell Hunt Owen Moore Louise Glaum Jane Grey 

Virginia Pearson Alice Joyce Virginia Norden Fay Tincher Frances Nelson ^ 

Kathlyn Williams Peggy Hyland Theda Bara Gillie Burke Marguerite Courtot =y§ 
King Baggot Alice Brady Bessie Eyton Viola Dana Ruth Roland 

Henry B. Walthall Fannie Ward J. Warren Kerrigan May Allison Annette Kellermann = 
Charles Chaplin Cleo Ridgely Edna Mayo Beverly Bayne Fritz) Brunette 
Beatriz Michelena Marie Doro Helen Holmes Francis X. Bushman Mary Fuller 
Earle Williams Vivian Martin Clara Kimball Young Harold Lockwood Mary Miles Minter 
Frank Morgan Dustin Farnum Lillian Gish Mme. Petrova Pearl White 4 5E3 

Huntley Gordon Myrtle Stedman Mabel Normand Valli Valli Ormi Hawley 4 = 

Anita Stewart Lenore Ulrich Dorothy Gish Mrs. Sidney Drew Edwin August .# s 

Lillian Walker Edna Goodrich Bessie Barriscale Sidney Drew Kitty Gordon ~f = 
Leah Baird Mary Pickford Norma Talmadge Ethel Clayton Mae Murray f 

Dorothy Kelly Marguerite Clark Douglas Fairbanks Carlyle Blackwell Blanche Sweet + = 
Lucille Lee Stewart Pauline Frederick Mae Busch Mollie King Anita King # *** =3 
Charles Richman John Barrymore William S. Hart Muriel Ostrlche Wallace Reld * <<>%jS> s 

These pictures are not for sale. Subjects not mentioned in the list cannot be 4 -c^c?^ — 

supplied, and the set can be obtained only by subscribing for the Magazine or Classic. V £^r& — 

Subscription prices are as follows: A _ ^^*«, = 

Magazine Classic Magazine & Classic + ^ "V^sS^ . =i 

United States $1.50 $2.00 $3.00 S ^ ^S "H 

Canada 1.80 2.30 3.60 / -'/ .n&J B 

Foreign 2.50 3.00 5.00 S+\\r''&W / / ■ 

To order just fill out the attached coupon and mail with remittance. BE S >j> % <^ v ° ^° .** •*' .*" HI 

SURE TO ADD 15c. EXTRA FOR POSTAGE AND MAILING. * 0&> X V <^$ .''' .*' •*' ^ 

M. P. PUBLISHING CO. X^t^° <, 

175 Duffield Street BROOKLYN, N. Y. ,#* . V^VV'V .'""" 


When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



Janie. — Harry Hilliard in "New York Pea- 
cock" and "Her Great Love." Herbert Heyes 
was Dr. Boulden in "The Victim." We have 
never carried a picture of Edward T. Lang- 
ford. Paul Capellani was Armand in 
"Camille." Chester Barnett played in 

Richard W. Cong. — About five years ago 
Martha Spiers played for Pathe. Paul Scar- 
don was the hypnotist in "The Goddess." 
My hair — what I have left — is gray. That's 
true, but when a man's wrong and wont ad- 
mit it, he always gets angry. 

R. C. F. — Elaine Hammerstein is with 
Selznick, and Charlotte Ives with Edward 
Warren Co. Your letter was all right. 

One the Squirrels Didn't Get. — Are you 
referring to somebody? Jess Willard says 
that if they will bring on the German army 
one at a time he will end the war. That's 
the only way I know to get the boys out of 
the trenches by Christmas. Edward T. Lang- 
ford was Derwent in "The Dark Silence." 
He also played in "As Man Made Her." John 
Bowers played in "Darkest Russia." 

Beatrice. — Your letter was very interest- 
ing. You say "Little Mary" uses too much 
make-up. Mary, please note what Beatrice 
says. One hundred dollars if allowed to re- 
main in the bank for one hundred years, at 
compound interest, would absorb practically 
all of the gold in the United States. No one 
has ever had the time to try it, but I think 
I will start the experiment. 

Maurice M. — Gail Kane in April 1916 and 
June 1916 Magazine and chat in August 1916 
Magazine. No, I dont own a car. Such 
luxuries are beyond my dimensions. 

Wilhelma. — Mary McAllister was Rosa- 
lind in "Little Shoes." Helen Badgely is 
with Metro. Cant tell you what caused the 
high price of shoes, but the manufacturers 
say that it is because ladies wear shorter 
skirts and 'therefore higher shoes. Never- 
theless my shoes are twice as expensive as 
formerly and my trousers are the same 

Nettie B. — The correct answers were not 

published, nor will they be. In fact there 
was no correct answer — we just took the 

M. S. — Leota Lorraine was Miss Baker in 
"The Promise." Yes, I like the odor of your 
sachet. When I got mad at foolish questions 
I used to run up and down stairs ten times 
— but the stair carpet wore out and the fool 
questions didn't. 

Vermonter. — Gladys Hulette and Pat 
O'Malley in "The Heart of a Princess." I 
will be glad to inform you about the Puzzle 

Richard W. — You are a pacifist, yet are 
going to the front. That's putting the fist 
in pacifist, is it not? See above. I am sorry 
indeed, but I cannot supply the name of the 
play from your description. It sounds very 
much like a foreign play. Yes, thanks, I 
have a very fine bed — all the comforts of 
home that can be crowded into a hallroom. 

Jean. — Why all this fuss about Mary Pick- 
ford's hair? Marcellina Bianca was Cabiria 
in that play. 

Florence M. — William Hart no doubt is a 
member of that club. Haven't his second 
name. Yes, but we have found that a stern 
gun is more effective than a stern note. 

Mrs. J. J. — Edward Earle is with Art 
Dramas now. You think Olga Petrova makes 
up her lips too much. I cannot inform you 
what Lillian Russell meant when she said 
"Let the clear wind blow the cobwebs from 
your body." Perhaps she means sun-baths. 
I prefer water. 

Dorothy C. — You say you wont call me 
Rip because I haven't been asleep for twenty 
years. You should put your name on the 
top of your letter. Ethel Gray Terry. 

A Virginia Admirer; Peggy Snow Club; 
Mickie; Pearl White Trio; Leroy W.; 
Gretchen E.; Lily C; San Jose. — Sorry, 
but, you know the rest. 

M. A. A.; Edith D.; H. D., Montreal; Ben- 
nett S.; The Skarabande; Ed. K.; Virginia 
P.; and C. C, Atlanta. — Well, just look 





Triangle Players 

Live Their Parts 

Acting is but artificial expression. It is one thing to 
mimic character— and quite another to create it. Triangle 
Players are chosen because they have the living spark 
of productive ability. They are the poets of the screen, 
who carry imagination to the point of vivid reality and 
live the life, the individuality, the joy and pathos in 



And Triangle Players are chosen for the parts they play. 
They have an understanding of human nature. They are born 
with the white flame of genius burning in their breasts, that 
lifts them out of the commonplace — and gives them the 
ability to take their audience with them. 



Triangle Plays are apart from the usual 
too. They are portrayals of passion and 
tenderness, poverty and riches, love and 
hate — all used as tools by the picture- 
drama craftsman to teach a wholesome 
lesson. Triangle Plays do this without 
offense, and with cleanliness uppermost. 

Look for Triangle Plays in your neighbor- 
hood theatres. 

Triangle Distributing Corporation 

1457 Broadway New York 

When answering advertisements kindly mention MOTIOX PICTURE MAGAZINE. 



Melva, Portland. — What has happened to 
you? . 

Dtmples. — Now, now, I am right about 
Seena Owen playing the lead in "Fox 
AVoman." It was an old Majestic play. 

Girl Scout. — I salute you. Yes; Marshall 
Farnum was a brother to William. Not Frank- 
lyn. Dustin's picture in April, 1916. Yes, 
I like butter, but it is fattening. The natural 
color of butter is white to pale yellow, and 
it is artificially colored to suit market tastes. 
Pink butter is not at all common in Boston, 
and violet is a favorite shade among the 
New York haute ton. 

Mae Adams. — Violet Mersereau was the 
girl in "The Great Problem." Yes, all the 
New York department stores are selling 
Liberty bonds. In one store in Brooklyn, 
Bobby Connelly and his sister Helen, Violet 
Mersereau, "Mother" Maurice, the Lee chil- 
dren, Hazel Dawn and other players were 
present selling bonds. 

Jerry T. — Why, yes; Mitchell Lewis was 
Doret in "The Barrier." Glad you liked it. 

Naughty Vampire Girl. — Glen White was 
Quasimodo in "The Darling of Paris." The 
next Theda Bara picture will be "Cleopatra." 
My! but you are sarcastic yourself. I've got 
nothing on you. 

John E. — No, I never sit in box seats. 
That reminds me of the four boxes that rule 
the world — cartridge box, ballot box, jury 
box and hat box. I doubt if Mr. Lubin is 
doing anything at all in the picture business. 
The plant is closed, I understand. 

Molly Mc. — You might get a picture of 
Geraldine Farrar in Joan costume if you 
write to Lasky. I enjoyed your letter a lot 
and I want you to write me again. 

John V. S., Winnipeg. — Glad to hear from 
you again. The consensus of opinion is that 
the May Magazine cover is the best yet. 
Thanks for the invitation. 

Lorraine V. W. — There are more red 
stripes than white in the American flag, and 
since this will be more or less a bloodless 
war none of the white stripes will be stained 
with the blood of our young patriots who 
are going to the front to perpetuate liberty 
and peace for all the world. You want to 
see more of Olga Petrova. We had a chat 
with her in February 1917 issue. Also more 
about Ethel Barrymore. 

J. W., Leeds, Eng. — I am glad to know you. 
Thanks for you good wishes. 

H. H. S., Houlton, Me. — You refer to Her- 
schel Mayall. Well, Germany couldn't seem 
to make out what international law was, and 
now they are made an international outlaw. 

Inez. — You are a regular. Louise Orth was 
the sweetheart and Reggie Morris was the 
florist in "Knocks and Opportunities." Alice 
Rodier was Tottie Twinkletoes in "Midnight 
at Maxim's." Jean Dumar was Audrey in 
"Up in the Air." 

Sybil. — Since this is your first letter, I 
will try to be lenient. Margarita Fischer in 
"Little Miss Missionary." 

Niffit, Scotland. — I did not get your first 
letter. You see, most of our mail is either 

held up by the British or sent down by the 
Germans. Frank Farrington is with Fox. 

Gaby Girl. — Yes, I have missed you a 
great deal. So you are traveling — lucky girl! 
You saw Carlyle Blackwell in Savannah; 
also Romaine Fielding, who you say is 
directing Carlyle. And now you want to 
protest against any one saying that Carlyle 
Blackwell is effeminate, and that he doesn't 
use perfume. That's right, stand up for your 
favorite, but what if he does use perfume? 
I use it myself. 

Kathryn. — Thanhouser last. 

Marion N. — Just five days before I was. 
Mary Pickford is in California just now. 
I'm afraid your amativeness and philopro- 
genitiveness are poorly developed. I advise 
you to consult a doctor or a phrenologist. 

Jimmie F. — Dont know about Earle Foxe; 
see elsewhere. 

Doll-Poll. — Creighton Hale is with Pathe. 
So you didn't care for Louise Lester in the 
"Calamity Ann" series. Well, you know it 
isn't brave to face what we cant dodge. 

Baltimore Girl. — You refer to Elizabeth 
Burbridge. William Russell is with Ameri- 
can. You say you haven't missed a Tal- 
madge or Lockwood release in over three 
years. I should say that is stepping right on 
their heels. 

Edith 0. — Right you be. Fashion is a 
fickle and misleading jade. She is the will- 
o'-the-wisp that leads us, step by step, to 
the quicksands of financial ruin. It is nice 
to be well dressed, but folly to be over- 
dressed. Hi, ho — hi, ho! Shirley Mason is 
with McClure Pictures. 

Bill French. — That studio isn't in Niag- 
ara Falls now. Marguerite Snow started her 
career on the stage. She was born in 
Savannah, Ga., but most of her childhood 
was spent in Denver, Colo. She has dark 
hair and brown eyes. 

Grace Add. — Please dont write and ask me 
if I think that if you wrote to such and such 
players would they send you a picture. Most 
players send out pictures upon receipt of 
25c. to pay postage. A few, including Crane 
Wilbur, send them for nothing. Yes, that 
was John Mulhall in "The Man Who Called 
After Dark." Richard Tucker in "The 
Power of Decision" (Metro). 

Vera Nutti. — How could I suspect you? 
I enjoyed your letter indeed. Just beware 
of a sudden friend and a slow enemy. 

Micky. — Yes, Antrim Short is with Uni- 
versal, Lou Short Universal also, and Ger- 
trude Short with Rolin. But I am short of 
information on Stella. William Conklin 
played in "Out of the Wreck." 

Bijou. — Dont remember "When a Man's a 
Man." See elsewhere for Grace Cunard. 
There was no correct answer to that puzzle. 
Lottie Pickford's baby is called Mary Pick- 
ford Rupp. Well, I wonder! No, no; you 
have me wrong. Fe, fi, fo, fum! 

Hoosier Girl. — Bryant Washburn is with 
Essanay, but I dont know where Mary 
Fuller is now. 

(Continued on page 155) 


Tasty Reading in Sweet Cider Time 

September Motion Picture Magazine 
Is a Vacation Week in Itself 

When the pages of the September Magazine flutter in the wind, something cooling 
and seasonable — outing clothes, frozen dainties, yachting and deep-sea pictures — reveals 
itself to the reader's eye on every page. It is just the sort of a summer pal to take out 
under the shade of the trees or stow away in the canoe. And to those stay-at-homes it 
brings the greens and sweet smells of the country right into your room. Here is a 
partial list of the gems that are scheduled for the next two numbers: 

Dame Fashion's Horoscope — A continuation of the dressy article in this issue. In 
the September Magazine screen favorites will be shown and described at length in sport 
clothes, outing toggery and beach and boating duds in the latest modes. 

"Extra Ladies and Gentlemen" — leaves off in such an interesting place and is such 
a corking "inside" tale of life in and about the Los Angeles studios that every picture 
fan will want to read its conclusion. Illustrated with new photos of the "army of 
unknown actors." 

All About the Submarines — Edwin M. La Roche takes his^ readers a-cruising on a 
deep-sea pirate, tells how they swim, dive, see and fight and gives some thrilling tales 
of how the submarine has played the heavy role in Motion Pictures. 

As They Grew Up — By Lillian Montanye. Here is a real "scoop," as newspaper 
men say. The author has spent months in collecting the baby pictures of first-water 
stars — Viola Dana, Mabel Taliaferro, Grace Valentine, Alice Joyce, Earle Williams and 
Anita Stewart The players have never parted with these babyhood pictures before and 
never will again. And with them we have the charming stories of the stars' toddlesome 

Frozen Echoes a la Character — Lillian Blackstone dessert recipes, published in the 
Magazine last summer and dedicated to the players, made such a hit that the National 
Association of Ice Cream Manufacturers has asked and gained our permission to dis- 
tribute the original recipes by the million. This time Miss Blackstone dedicates her 
cooling desserts to William S. Hart, Theodore Roberts, Eugene Pallette, George Beban, 
Henry Walthall and Antonio Moreno. 

Afloat With Our Camera-Girl — Nance Monde, a clever newspaper woman, has 
bought' herself a Graflex and is trailing the fugitive star to his or her lair — to "shoot" 
them on the spot. Her first series of pictures, and the sparkling little narrative that 
goes with them, cover an ocean steamship "location" day spent with Mrs. Vernon Castle. 

How I Got In — A new department in which leading players tell of their beginnings 
in pictures and how they got their first start. 

Their Favorite Roles— By Roberta Courtlandt, one of our favored and favorite 
authors, is with us again in a delightful summer chat in which Marguerite Clark, Bryant 
Washburn, Cleo Madison, Theda Bara, Dorothy Gish, Jack Kerrigan and several others 
tell about the parts they liked best to play and have contributed their favorite photo- 
graphs to beautify the stories. 

Fighting on the Screen — L. E. Eubanks, whose "Screen Venus" and "Screen Apollo" 
are still being talked about by Magazine and Classic readers, describes the famous fight- 
ers in Studio-land. A man's tale, with a punch and a strangle-hold, and finely illustrated 
with photos of Harold Lockwood, William Farnum, Jack Richardson, Jack Kerrigan 
and William S. Hart. 

A Shower of Midsummer Chats — the cozy, homey, out-of-doors kind are coming in 
the September Magazine. Players' vacation days, their outdoor fun, their home life, 
will charm you and get you acquainted. And, too, all the regular features — pages of 
clever short stories, up-to-the-minute news, gossip and hundreds of outdoor pictures 
will flutter thru your fingers. 

Leave your order with your dealer now, to be sure of getting it. 


175 Duf field Street Brooklyn, N. Y. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



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(Continued from page 127) 

"The Truant Soul," tho wonderful and 
all that, was terrible in its way. I mar- 
veled and became an ardent admirer. 

In a tall glass dish place some vanilla 
ice-cream — or another flavor if you so 
desire. Then add pieces of cut-up ba- 
nanas, oranges, grapefruit, grapes, 
peaches and pineapple. Keep putting 
these pieces in till the top is reached and 
then top off with some whipped cream 
and a cherry. The result will be so good 
that you'll be trying it on your friends. 

Eugene Pallette Desperado — Is he 
desperate? Well, rather — that is, you'd 
say that after seeing him in some of his 
roles. But really and not reely speak- 
ing, he's very nice and not in the least 
"devilish." Of course, he lands in court 
occasionally for speeding, but outside of 
that he's a regular man and just as nice 
as his "good" pictures indicate. 

In a shallow dish place two slices of 
orange — the round slices, and have them 
already divided so as to be easy to handle. 
And then over this sprinkle nuts and 
pour some pineapple syrup and then add 
some vanilla ice-cream. Cover with 
whipped cream mixed previously with 
slices of peach and the dish is finished. 
It will just about melt in your mouth and 
you'll be a strong Pallette fan by the time 
you've finished. 

Antonio Moreno Spano — "Mr. Aladdin" 
wouldn't have been nearly so good if it 
had not been for this versatile young 
actor, and so would a lot of plays suf- 
fer if Antonio hadn't stepped in and done 
his best. He's the kind who doesn't try 
to "make a show" and yet succeeds in 
capturing every feminine heart and win- 
ning all the applause. And he's so real 
in character that you feel like approach- 
ing him and telling him how glad the 
boys at the club would be to meet him. 
He's the kind you'd trust your wife with 
and he has so won all the hearts — femi- 
nine, masculine, and neuter — that it will 
be long before he is forgotten. 

Have some of the cream-rich pepper- 
mint ice-cream put in a dish and over this 
pour some thick chocolate syrup. Cover 
all with marshmallow and then treat the 
family to something delightfully unusual. 
"Oh, for another dish !" you will murmur. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 





In recent issues of the Motion Picture 
Magazine and Classic, the Scenario 
Service Bureau offered $135 in prizes for 
the best original story. The contest^ closed on 
March 31, and the judges have just com- 
pleted the work of reading several thousand 
excellent stories and a few that were not ex- 
cellent. The judges have made their awards, 
and the Bureau has asked us to publish the 
names of the winners, who are as follows, in 
the order named: Gerald L. Carson, P. O., 
Inwood, L. I., for "The Sleep-Walker" ; E. L. 
Krizan, Groom, Texas, for "The Warning 
Call" ; James V. Hamlin, Newark, N. J., for 
"The Final Analysis" ; Miss Georgette Pou- 
lard, 76 Franklin Av., Passaic Park, N. J., for 
"The Masterpiece" ; R. W. Meguiar, 172 Form- 
wait St., Atlanta, Ga., for "When Hatred 
Fled" ; Miss Eda Bowers-Robinson, 134 
Hubinger St., New Haven, Conn., for "The 
Madonna of the Wayside" ; Carroll E. King, 
Highland, O., for "Duty"; W. F. Weddle, 
Piedmont, Mo., for "The Ray of Light" ; Miss 
E. Maitland, Vernon Lodge, Hughenden Road, 
East St. Kilda, Melbourne, Victoria, Australia, 
for "Man's Sacrifice" ; Miss Ursula R. Blake, 
806 E. Water St., Pontiac, 111., for "That 
Clayton Affair" ; Mrs. W. Harry Bosworth, 85 
Brent St., Dorchester, Mass., for "Her Re- 
ward"; Arthur F. Bissonette, 74 Broad St., 
Hudson, Mass., for "Nan from Nowhere"; 
and Miss Nancy M. Burns, 7629 Loraine Av., 
Cleveland, O., for "What Would You Have 
Done?" Among those whose stories com- 
peted strongly for a prize are : Marie L. 
Waibel, Charles E. Harris, Eleanor C. Brooks, 
A.Loretto Quigley, Jessie M. Whipple, L. L. 
Williamson, C. B. Woods, Ethel Dunn, Wm. 
A. Fahrenhorst, Wong Chin, Ethel Reid, Jo- 
seph Milam, Mrs. Edward Pels, R. E. Lutz, 
Leon C. Bailey, Maym M. Wooley, Margaret 
Morgan, John Lindgren, Julian E. Isaac, B. I. 
Scanlon, Mary C. Rupp, Orpha M. Hughey, 
Ada B. Rhea, Fred. R. Whittemore, E. B. 
McOrmand, M. R. Murphy, Claire O. Gold- 
stein, H. J. Fraser, Pearl Stahl, Edith Danger- 
field, Mrs. J. L. Long, Patty Gardinier, Char- 
lotte M. B. Boles, Maude Vandiver, and many 
others too numerous to mention. We have 
taken over from the Scenario Service Bureau 
the rights to the prize-winners, and we have 
sent the prize-money to the successful authors. 
Some of these stories will be published and 
some filmed— it has not yet been decided. 


Several of our readers have sug- 
gested a remedy for the complaint 
that they do not always see pictures 
in the Gallery of the players they wish 
for most. For years the Editor has tried 
to keep his fingers on the public pulse, 
and in making up the Magazine each 
month, he has tried to remember what 
has been most demanded* and to pub- 
lish such material as would please the 

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greatest number. While it is quite im- 
possible to get every reader's opinion, 
and while it is impractical to ascer- 
tain what sort of article and department 
appeals to the greatest number, it is 
possible to give all an opportunity to des- 
ignate what pictures they prefer in our 
Art Gallery and on our cover each month. 
So. hereafter, we shall publish a coupon 
and invite our readers to make their own 
selections. Each month, when the time 
comes for making up the Gallery and 
cover, the Editor will assort and classify 
these coupons and choose pictures of 
those players whose names appear the 
most times on these ballots. So, if you 
do not see your favorites in the next 
Gallery, you will know that it is either 
because we did not obtain a suitable pho- 
tograph in time, or because your favor- 
ites did not get enough votes during that 
month. Please note, however, that our 
Galleries are made up in advance, and it 
may be two months before your votes 
are effective. Our motto shall be: 'This 
Magazine is YOUR Magazine, and the 
majority shall control." In other words, 
to borrow Jefferson's famous phrase, 
"The greatest good to the greatest num- 
ber." We publish the coupon below. 
Fill it out and mail it to the Editor, or 
inclose it with any other mail, that you 
happen to be sending in to any depart- 
ment of the Motion Picture Magazine, 
175 Duffield Street, Brooklyn, N. Y. 

I request the Editor to publish in the next 
Art Gallery pictures of the following players. 
I have marked a cross opposite the one that I 
prefer on the cover. 


2 : 








The Star — It's a rotten picture and it's 
the director's fault. 

The Members of the Cast — The picture's 
terrible — the director did it. 

The Camera-man — That director dont 
know nothing. 

The General Manager — I think we ought 
to fire that director. 

The Assistant Director — They ought to 
make me director, and then we wouldn't 
have any more awful flivvers like this. 

When answering adYertisements Jiindly mention MOTION PICTURE MAGAZINE. 




{Continued from page 150) 

Oriental Al. — Tomorrow is the day when 
the debtor pays, the idler works, the habit- 
slave reforms and the wicked repent. Also 
thanks for the picture. Of course I am glad 
to hear from you. 

Louise Von O. — Never mind about the size 
of my head. Aristotle believed the brain to 
be a complex organ, but held that the small 
head was the standard of perfection — "Little 
head, little wit; big head not a bit." Well, 
I swan! you have never seen Mary Pickford? 
You can get a job in any museum as a 
curiosity. Yes; Violet Mersereau is with 

Ida M. — I would advise you to submit 
your Christmas plays now. I know of no 
company that specializes in children, but Fox 
is doing some fairy plays. Violet, the ame- 
thyst, signifies love and truth, or passion 
and suffering. Purple and scarlet signify 
things good and true from a celestial being. 

The Jays. — Peeved! Surprised! Yes, I 
will forward any letters to Olga that you 
may send, but I wont guarantee an answer. 
Some camels live to be 100 years old; the 
elephant 400 years; a whale 1,000 years; 
horses, cows and deer about 20 years; cats 
about 15; dogs and sheep about 10, and 
rabbits and squirrels about 7. 

Olga, 17. — Tortoise-shell combs are taken 
from the back of the deep-sea tortoise, who 
carries thousands of these delicate spines on 
his back. Nature probably provided him 
with this wonderful implement to comb and 
prepare the sea-weed for his meals. George 
Walsh and Doris Pawn in "Blue Blood and 
Red" (Fox). 

Curiosity. — I am sorry you have been 
neglected. Your limerick was sent up-stairs 
to Doc Limerick. He is on the floor above 
me, next to Mr. Sielke. I am on the same 
floor with the Editor. 

Barry B. — No, we haven't a painting of 
May Allison, but we have one of Harold 

Ruth M. — May Allison has left Metro. 
Ruth Stonehouse is with Universal. Wash- 
ing a film is very easy. Two assistants wash 
the film thru several waters to free it from 
hypo, then turn it in a tray of diluted 
glycerine — 1 part glycerine, 33 parts water — 
for a minute and carry it into the drying- 

M. M. M. Admirer. — I notice now that a 
good many of you say this is the first time I 
have written you. I am glad to see so many 
new readers. It isn't necessary to call your 
questions scenes, even tho some of them 
would be. Theda Bara has never been on 
the stage, I believe, altho stories vary. 

Mrs. W. E. H. — Florence Lawrence isn't 
playing now. Crystal Heme was born in 
Boston, Mass., in 1883. There are a number 
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When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 


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It is nine-tenths a matter of knowing 

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THE PH0T0DRAMA By Henry Albert Phillips 

Member of Edison Staff; Associate Editor 

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Yankee. — But you ought to sign your 
name and address. You can get "Aladdin 
from Broadway" pictures at 25c. each direct 
from us. Only those that were used in the 
Magazine — and we have only one set. 

Moreno Fan Forever. — Hal Cooley was 
with Keystone last. Martha Erlich opposite 
Max Linder in "Max Comes Across." She 
certainly is a beauty. And Antonio Moreno 
is your favorite? You will hear about him 
when he joins Pathe. 

Anita Stewart Admirer. — Cant give you 
Anita Stewart's address. Tunics, artists' 
smocks, middy-blouse effects or a near- 
Chinese mandarin coat appear to be the 
proper cut for this summer's bodice; Di- 
vorce or separation scandals between blouse 
and skirt — bands are now decidedly passe. 
Mary Martin was Hester in "The Scarlet 

Harold H. F. — Elsie Janis has played for 
Bosworth. Among the Moors, if the wife 
does not become the mother of a boy, she 
may be divorced with the consent of the 
tribe and can marry again. It wouldn't do 
for this country, for there's dear "Little 
Mary" Pickford Moore. 

Hoodoo. — Thanks for yours. Of course 
you have to have training. I dont see how 
any one can learn music by mail. Usually 
the so-called dignity a man stands on is 
nothing but a bluff. 

Ixez. — William Russell and Irene Howley 
had the leads in "The Bondage of Fear" 
(Biograph). Wilfred Lucas had the lead in 
"Enoch Arden," an old Biograph. 

American Mildred. — Not yet. James 
O'Shea was Banty Tim in "Jim Bludso." 
No, we dont need any more reporters on our 
Magazine. Thanks. My opinion of Clara 
K. Young? She is a splendid actress. 

Iris, 13.— That's right, Iris, but the 
shorter the word, the harder it is to say — 
for instance "No." Norma Talmadge and 
Chester Barnett in "The Law of Compensa- 
tion." We had a photo of Mollie King in 
July, 1917. 

Miss La Tuque. — There are places where 
"Little -know, - it - all - and - tell - all -he - knows" 
hasn't been, yet I solved the Sphinx's riddle: 
What animal has four legs in the morning, 
two at noon, three at night? Answer, man: 
Creeps on all four in youth; walks on two 
legs in manhood; supported by a cane in 
old age. The Prizma Natural Color process 
has brought the beautiful rainbows of Niag- 
ara Falls to the screen. Armand Cortes was 
Hong-Kong Harry in "Yellow Menace." You 
ought to speak to your manager. Yes; Olga 
Petrova, Maude Adams, Pearl White, all 
have homes on Long Island. 

O. U. Stop. — Of course there aren't as 
many movie theaters now because of the 
feature pictures. Some of the smaller 
houses that ran five reels cant afford to rent 
the six-reel features. It is June Elvidge, 
and not Eldridge. Niles Welch is now in 
New York. 

When answering: advertisements kindly mention MOTION PICTURE MAGAZINE. 




Mabel W. — Ethel Gray Terry was Sonia in 
"Arsene Lupin." We had an interview with 
Earle Williams in June 1912, September 
1913 and November 1915 issues. Did you see 
him in "Apartment 29"? Corinne Griffith is 
his new leading-woman. 

Marion O. — Yona Landowska was Uana 
in "The Cry of the Firstborn." William 
Quinn w T as Lord Crenwell. It was released 
September 23, 1915. 

Carl T. — You say you are waiting for a 
picture of Jewel Carmen. Here's your 
chance to select whom you want to appear in 
the Galleries on another page. The Fair- 
banks case was won by him. His picture 
in May 1917 issue. Send along the article. 

Sydney G.; Gladys W.; C. S. W.; Kitty; 
Manilla P.; Theda; G. D., Brooklyn; Hurl- 
but G.; A. R.; Marjorie B.; Ignatz; Dixie 
& Billie; Richard D.; Lillian C; Lucille 
F.; L. H. V. S.; Mary A. P.; Harry S.; 
Aileen B.; Helen H.; Ada H.; E. H.; and 
Vivian W. — Glad to hear from you all. Look 
elsewhere for your answers. 

Juanita R. — You want Antonio Moreno on 
the cover. Wait until you see Harold Lock- 
wood. Good idea, I will put it in motion. 
Yes, I think there is some resemblance be- 
tween June Caprice and May Allison. 

Margaret K. T. — Thanks. Of course I 
liked that cake. I hardly think Biograph 
are doing anything at all now. I believe 
you refer to Harrison Ford in "The Tides of 
Barnegat" (Lasky). 

Jim H. D., Sydney. — No; Charlie Chaplin 
is not deaf and dumb. Mary Pickford never 
acted as Miss Griffith. She has always been 
Mary Pickford. Billie Burke is married to 
Florenz Ziegfeld. Send International cou- 
pons. Your letter was very interesting, but 
you must want me to write an essay. Next 

Fuller Fan. — Thanks very much. Vivian 
Rich is now with the Treasure Feature Co. 
Billie West with Metro and Betty Brown 
isn't playing just now. Blanche Sweet went 
with the Frohman Co. I doubt whether 
Mary Fuller has signed up with another 
company. Of course you are not a pest. I 
want to hear from you. The most appro- 
priate thing you could send would be candy. 

F. C. S. — Thank you kindly for the Alas- 
kan moccasins. They just fit, and are per- 
fect wonders. Let me hear from you again. 

Katherine B. — No; Henry Morey is not 
married. You say you are mine till Ivory 
Soap sinks. J. W. Johnstone in "God's Half 
Acre." You are too sentimental. 

William, 22. — Winnifred Kingston and J. 
W. Johnstone in "The Virginian" (Lasky). 
Albert Parker was Percy in "American 
Aristocracy" (Fine Arts). L. Shumway and 
Adda Gleason in "Convict King" (Lubin). 
Theodore Roberts was the lead in "Puddin- 
head Wilson." 

Nickabobatotato. — Answered you meek — 
it was a mistake. I didn't mean to. No, I 
never get mad — never. I enjoyed your inter- 
view very much indeed. 


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Alice A. — Another new club — any one 
wishing to join the Francis Bushman Club 
will please get in touch with Mrs. Alice R. 
Allen, 3011 Abell Ave., Baltimore, Md. I'm 
afraid I wont be able to join, and besides I 
couldn't be an active member. 

Beatrice de B. — Your verse is very, very 
clever. In fact, you are one of my prize 
writers. You say you would much rather 
be called charming than intellectual. I 
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nese cap. That ought to keep me warm 
now. I adore the button. Walter McGrail 
is a Brooklyn boy. 



Selections from Recent Contribs 

That Put "The Japanese 

Schoolboy" in the 

Back Seat 

Dear Sir — Can I be known as a Limerick 
writer? Can I submit them artistically as the 
few above? I ask such question to endeaver 
my name in your 'adequated histrionic simpli- 
city of a magazine, sublimable to the audience 
that always endeavor essential for subsistence.' 

Remaining for a wishful answer 

Pasquale Ralph Mennone. 

474 Market St., Newark, N. J. 

Twinkle, twinkle, little star, 

How I wonder what you are ! 

I wonder where you give most light, 
On the screen or in the sky at night. 

Twinkle, twinkle, little star, 

Twinkle, twinkle with all your might — 
But you cant twinkle as well as Pearl White. 

Ada Manning. 
2237 84th St., Brooklyn, N. Y. 


Progressive Motion Picture Magazine 
occupies a permanent authority of func- 
tions policies that protect its common- 
wealth and conquer barbarous manipulations. 
Such doubtless jurisdictions visualize its mam- 
mon with wordly celebrity of still greater 
futurity. A heavens wherein its astronomers 
discover theoretical asterisms ; a museum of 
the fiimdom arts classifying the studies of 
nebular hypothesis of its mythical beauties ; a 
library of thrilling tales and experiences 
narrated and extruded by realistic deeds of 
intellectual abilities. An ostentatious and odor- 
ous vale of lilies, roses, lilacs and violets, 
whose blossom and maturity substantiate a 
perennial and delicious taste of gratification of 
the flowery paradise. A proliferous field of 
exumbrant and prosperous discipline of the 
Photoplay writer and aspirant. Congenial to 
unison jingle the limerick choir upon the 
lyre of euphony, supplicating the gods and 
goddesses of fiimdom. The Mount Photoplay 
of chit-chat wrath and tempestuous felicity of 




the supreme deities, whose jeopardizing coun- 
tenance of subtile grace and tantalizing decep- 
tion of infinite charms, but non deciduous, yet 
their mystifying dearness hath not hypotheti- 
cally been conceived, thunders the elysium of 
amazing populace whose fanfare praiseth their 
ulustrious movie characteristics. Are not the 
forget-me-nots its essential vanities, humou- 
ous and ridicules of saterical vivacities ratified 
by the emotional and tearful overstraints of 
the fortunate reader? 

How listful and furious are beheld those 
ambiguous purifications of the therapeutic in- 
quiries, whose fair and wrathful Apollo doth 
communicate their theories of the divines, 
often mocking at their efficient curiosities by 
snappy short-slushed devitalized repartees. 
Sequentious hence, thereto, a connoisseur's 
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Ridgewood, N. J. A. C. Rollins. 

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If Wallace Reid is not the husband sans 
peur et sans reproche. 

What the Moores think of their new sister- 

If Grace Cunard could see herself pouting, 
would she do it again. 

Who told Joe Moore he is an actor. 

If other movie families could not imitate 
that at Bushmanor with advantage. 

When Seena Owen means to exercise her 
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his hair cut. 

If Billie Burke really believes she occupies 
the place Anna once Held. 

What kind of glasses Rose Tapley wore 
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very beautiful woman." 

If Linda Griffith loves the Pickfords. 

Who the rude man was at the Lasky studios 
who exclaimed: "Some legs!" after seeing 
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If Fannie Ward would not have made a 
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If Roberta Courtlandt believes all the 
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If Beverly Bayne's "Juliet" was not a 

If Jack Pickford did not find his fair com- 
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lunched her at Gertner's one Sunday recently. 

If the recent washing of movie matrimonial 
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If Earle Foxe's ambition is similar to Nat 

If Francis X. Bushman was only thirty-one 
in 1916, how he comes to have a son nineteen 
years old. 

If Lottie Pickford is at last convinced she 
does not "belong" to the movies. 

If the Answer Man is aiming for the Iron 

If Theda Bara means us to believe her 
mother has the gift of bi-location. 

Why the William Fox Company cant be 
original without being foolish. 

Phyllis Weston, 486 Rossmore Ave., 
Bronxville, N. Y ., gives us an interesting, 
"close-up" appreciation of William S. 

I had the pleasure of being at the Eighty- 
first Street Theater, in New York, when Will- 
iam S. Hart made his personal appearance 
there on May 20, and I thought a letter might 
interest those of your readers who were not 
fortunate enough to see this remarkable actor 
off the screen. He is much the same William 
whom I have seen in fourteen of his pictures, 
yet not quite the same. The eyes, that one usu- 
ally sees narrowed in anger, were wide open 
and warmly smiled a greeting to his friends. 
The lips, that are most often only a straight 
line, or drawn back from his teeth in a snarl, 
were smiling a delightful, tho somewhat bash- 
ful, smile. But his voice is what delighted me 
most. I liked the soft little drawl whenever he 
said "California." I liked the natural, unaf- 
fected way he gave us the verse about "Rags"; 
and when' he told us about "Jane Jones," who 
"actually said 'twas so," it seemed that you 
were listening to an uneducated old "forty-a- 
month" cowboy telling of his instruction at the 
hands of the aforesaid Jane. 

Also, I liked his strong, brown hands. They 
looked as tho they were strong enough to crush 
the life out of one he hated, or caress the wo- 
man he loved, with equal ease. Two surprises 
I received in seeing Mr. Hart. His hair, which 
I believed to be nearly black, is a golden brown 
and appears much thicker and softer than on 
the screen. Then his age — I have seen his age 
given as forty-seven, and it may be true, but, 
after seeing him, I should take at least ten 
years off that, if I were asked to "give a guess." 
So I am mighty glad I saw him, and when he 
leaves New York I should like to go to the 
train to see him off, and, as the Indian once 
said to his father, I should say, "You are going 
on a long journey. I speak to you from my 
heart, and my heart is on the ground." 

Miss A. R. Oliphant, Trenton, N. J., 
reduces all the favorites to kindling-wood 
in swinging her ax as a champion for 
Pauline Frederick: 

A number of us have decided to write you, 
because we consider the Motion Picture Mag- 
azine and Classic far superior to the others. 




Considering; such to be the ease, however, we 
cannot understand your apparent lack of ap- 
preciation for real acting. 

We can, of course, see how actresses such as 
Louise Glaum, Theda Bara, Virginia Pearson 
and a great many others would appeal strongly 
to some movie- goers. But why not save a small 
space in your Magazine for remarks about 
really good things, remembering that educated, 
well-bred people go to the movies also and nat- 
urally like to read about the things they enjoy 
and appreciate? 

There was absolutely no notice taken in your 
Magazine of "Sleeping Fires," with Pauline 
Frederick, and yet it was positively the clever- 
est, most beautifully finished picture we have 
seen this year. 

Miss Frederick is a renl actress and her 
work in that picture was exquisite, and yet it 
was not in any way remarked upon in the 
Motiox Picture Magazine. We can under- 
stand that a great many pictures must neces- 
sarily go unnoticed for lack of space, but that 
picture was a jewel, and only lack of apprecia- 
tion could keep you from mentioning it. 

For several months we have not had Famous 
Players pictures in Trenton, and a number of 
us have gone to Philadelphia to see each of 
Pauline Frederick's pictures when they were 
advertised at the Stanley, and we have always 
felt it well worth while. 

The same child played with Miss Frederick 
in "Sleeping Fires" who played David with 
Ethel Barrymore in "The Awakening of Helena 
Ritchie." After seeing Pauline Frederick with 
the child and remembering Ethel Barrymore 
with him, one can only liken Miss Barrymore 
to a large piece of putty. 

A very great thing in Miss Frederick's favor 
is her exquisite taste. She wears, always, ex- 
actly the kind of clothes any well-bred Ameri- 
can woman would wear if she could afford it — 
and the lines of her figure are lovely. 

A great many of the actresses wear expen- 
sive clothes, but if they have not good taste 
that is sometimes worse than more simple 

Clara Kimball Young is beautiful, but the 
lines of her figure are far from good, and, 
unless she chances on something, her clothes are 
very bad — she simply hasn't any style. 

Mary Pick ford looks adorable in rags or 
quaint dresses, but, with her hair up, in pres- 
ent-day clothes, she looks like a country bride 
very often. 

She was altogether lovely in "A Romance of 
the Redwoods," however. I wonder if you will 
give that a notice? 

Unlike Mary Pickford, Marguerite Clark 
looks charming, alike in rags or up-to-date 
clothes, and she has a lovely little figure, the 
most winsome charm possible and mighty good 
taste, apparently. 

Madame Pavlowa always starts us to wonder- 
ing what poor, misguickd man started paving 
her a large salary. There is something rather 
sweet about her, but all she does is stand 
around, look intense and fall into the most un- 



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Send us your Ideas for Photoplays, Stories. 
Etc.! They may bring you BIG MONET! 
Rowland Thomas, an "unknown writer," re- 
ceived $5,000 for one story! Elaine Sterne, an- 
other beginner, received $1,000 for a single play! 

You Have Ideas 

If you go to the movies, if you read maga- 
zines — then you know the kind of material 
editors want. Special education is NOT RE- 
QUIRED. Writing is open to ALL CLASSES. 
"The best reading matter is as frequently ob- 
tained from absolutely new writers as it is from 
famous writers," says a prominent editor. 
EVERY life has its story. 

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natural attitudes — and — her figure ! ! — that 
might have been all right twenty years ago. 

Some one told me she was Russian and de- 
signed her own clothes. I can believe both. No 
American woman would wear them unless she 
were broke or unconscious. 

John L. Stanton, National Press Club, 
Washington, D. C, is an enthusiastic 
movie fan — but his nerves are strained to 
the breaking point at times. Witness his 

I am a movie fan. I enjoy the film drama, 
but every time I see one which has to do with 
a newspaper or a newspaper man I get sore. 

For instance, we see in the screen news- 
paper headlines something like this: 

"John Brown, Millionaire Manufacturer, 
Brutally Murdered. Suspicion Points to His 
Son, Reginald, a Prominent Young Clubman. 
Police Hot on Suspect's Trail." 

In the last reel we find that it wasn't Regi- 
nald at all, but the butler. 

Most Moving Picture newspapers are utterly 
without fear of the law of libel. They publish 
the most defamatory statements without 
thought that the person injured may institute 
suit for $50,000 or $100,000 damages. Even 
the latter verdict Mould be small in comparison 
to the injury I have seen done by movie news- 
papers to perfectly innocent and well-inten- 
tioned parties. 

Here's one I witnessed recently, the heroine 
being one of "our popular favorites." Of course 
she didn't write the scenario. 

She appears as an actress. A reporter is as- 
signed to interview her. While he is waiting 
in her dressing-room the city editor of his 
paper, attired in evening dress and bearing a 
large bouquet, calls to invite actress to dinner. 
She declines. 

The city editor returns to the shop and tells 
reporter he will write a criticism of the show 
and interview himself. This he proceeds to do 
— in long-hand. 

He says the show is "mediocre," the company 
worse, and follows with the statement that the 
only possible conjecture for its appearance is 
that the leading-lady has the backing and pro- 
tection of a "prominent New York stock 
broker." Because the lady declines to go to 
dinner with him, he tears her reputation to 
shreds. The only thing that saves the news- 
paper is that the reporter finds the story, tears 
it up and punches the city editor. 

I have been in the newspaper game for quite 
a spell, and I have never seen a city editor in 
a dress-suit — much less bearing bouquets. Fur- 
thermore, a city editor who would permit his 
personal feelings to enter the columns of his 
paper in a way to injure, would last about as 
long as it takes the managing editor to fire a 
copy-boy. Aside from this little incident, the 
picture is a good one. 

Another thing — reporters when they are as- 
signed to cover a story dont carry notebooks 
and paper in their hands. 




Tf notes are necessary, these are made on the 
back of an old envelope or a scrap of copy 
paper. I have never seen a real reporter who 
carried a notebook. 

I am writing- this in the hope that the sug- 
gestions contained therein may be conveyed 
to our Moving Picture playwrights. The only 
compensation I ask is that I may see a movie 
in which a newspaper or a newspaper man fig- 
ures without either of them being made to look 

Gabriel Fernandez. 340 West 59th St., 
New York, tells how he has made his 
Motion Picture Magazines "immortal" 
and is an able attorney for Mary Fuller: 

Since the first of last month (when I bought 
the Magazine) I wanted to write, but did not 
have time until now to congratulate you on the 
new Gallery. 

It's really superb ! — the best on the market ! 

This month's is dandy — such a wonderful 
cover, and two lovely letters from "our" 

Good thing the Motion Picture Club wrote 
about the good use to which the Magazine is 
put after it has been read. 

I myself, having done something similar, will 
relate it to you. 

All the Magazines I had from the year 1915 
I took apart without tearing a page, took all 
the photographs from the Gallery and the in- 
terviews and chats; then secured two pieces of 
cardboard a little bigger than the contents, 
bought a yard of very dark velvet, covered first 
the two pieces of board, sewed them together to 
the volume with a "shoe-repairing needle" and 
cord that was dyed gold; after, to cover the 
bottom edge, a piece that was cut the same 
size was pasted — thus this wonderful album was 
finished. Later, my father, being more of a 
"genius," was able to print on the cover, 
"Who's Who on the Photo Screen." 

Dont you think this a great and priceless 

A great deal is said about Mary Fuller being- 
conceited; I think every one, when the time 
comes, is, but some are so fortunate as to keep 
it within. 

I mention this awful rumor so as to prove it. 

As every one of the readers who read the 
Magazine and Classic from cover to cover know, 
Miss Fuller was employed by a well-known firm 
(?) to co-star in a feature/ At the conclusion, 
perhaps disliking their method, she severed her 

The feature was to be released a month ago, 
hut has not been as yet. 

To make it worse, I think it has been re- 
filmed and scheduled for a later day. 

Now, am I right or not? 

With my sentiment still for Miss Fuller, I'm 
going to ask you this little favor, as I believe 
it's an outrage : 



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Please, as soon as yon are able, honor Miss 
Fuller and the host of her admirers with her 
"presence" in the Gallery and on the cover of 
either the Magazine or Classic. 

There are others with enticing personalities; 
as soon as I was ready to begin raving for 
Dorothy Kelly you had an interview. Good for 
you ! 

Miss Curtis Pierce, Hotel Deshler, 
Columbus, Ohio, writes a sparkling letter, 
but perhaps there is a hatpin concealed in 
her bouquet of words : 

The next time I see Mr. Bushman on the 
cover, or hear somebody work himself into a 
fever over Miss Minter's age, or hear Mr. Chap- 
lin knocked, or read about Miss Bara's Sahara 
origin, I'll have to be carried, shrieking, to the 
nearest sanitarium. 

In March's issue, Thomas Finnerty took half 
a perfectly good column to prove that poor lit- 
tle Mary Miles was old enough to vote. Good- 
night! If he were a woman, what a cat he'd 
be ! What do you care, Tom, whether she's 
fourteen or forty, so long as she does her work? 
Our common sense tells us that if she really 
were fourteen she'd be scrawny and undevel- 
oped; but why become excited about it? The 
child doesn't appeal to me — she and her type 
are too milk-and-watery; but if she wants to 
think she's fourteen, for heaven's sake let her ! 
She isn't kidding anybody but herself. 

I'll dispose of Mr. Bushman, as Harold Bell 
Wright would say, in a few terse, clean-cut sen- 
tences. He doesn't belong on the cover any 
more. He's what is called a "has-been." Be- 
sides, any man who would wear sport shirts and 
curly hair — well, words fail me. No, Genevieve; 
I'm curly-headed myself, so it isn't sour grapes. 
Years and self-indulgence are telling strongly 
on Mr. Bushman. He's had his day. His place 
isn't on the cover — no. It's in the "Dont You 
Remember" column. 

And now Mr. Chaplin: Most of the present- 
day comedies tend to make me weep, but I can 
laugh every time he steps into a picture. He's 
there, in every sense of the word. A bit vulgar, 
his vehicles are, but you can countenance it be- 
cause it's Chaplin. He gets by where other 
comedians would disgust. Harry McCoy gets 
a laugh out of me once in a while; I can smile 
at Sidney Drew's genteelly funny stuff; but I 
can laugh myself weak at Mr. Chaplin. After 
seeing "The Floorwalker," I was positively ill. 
Anybody that didn't think those antics on the 
moving stairway were funny wants to see a 

But again, philosophizing, would one think of 
keeping a vase of faded flowers for the sake of 
what they once were? One of our best-known 
humorists says, "Even the best of perfume 
grows tiresome when applied with a garden 
hose." Yea, verily. To quit while the quitting 
is good is, indeed, a high art — and, unfortu- 
nately, few of our stars have adopted it as an 
indoor sport. 

In "Purity," I saw a picture which was beau- 
tiful, classic and unusual for three reels, then 

died an awful, lingering death. The main story 
was hackneyed, amateurish, old-style, crudely 
and carelessly delineated. I was sorry. 
"Purity" might have been a wonderful picture. 
I saw a man get up in the middle of the fourth 
reel, saying disgustedly, "Shucks! J didn't see 
anything a child shouldn't have seen." Yes; 
those who went to see a suggestive picture were 
disappointed. I'll never forget the fresh, clean 
beauty of those first reels. Miss Munson's face 
would stop a street-car in the middle of a block, 
but I'll bet not many noticed it. 

Last but not least — Miss Bara. I admire her 
loudly and extravagantly. You'll have to hand 
it to her — she's the best "vamp" in captivity. 
Miss Glaum is a close second, and the Lord 
knows Miss Suratt tries hard enough to be the 
prize man-killer, but she overdoes the thing — 
too much black around the eyes; too many 
sneering, Satanic smiles; too much of that 
"hicki boola" in her walk; too many costumes 
that make every noise of the universe, from the 
Jupiterial thunderblast to the crashing rhetoric 
of a William J. Chautauqua speech, seem weird 
whispers in comparison. Valesky from Terry 
Hutt isn't convincing, that's all. She's too 

Miss Bara's every movement convinces, and, 
backed up by her distinctive, persuasive, heavy- 
jawed beauty, they are more convincing still. 
Verily, she's some female. But when do we see 
the last of this idiotic "Sahara desert" stuff that 
her press-agent thinks is good advertising? 
That last bunch of truck about the hieroglyph- 
ics, etc., affected me like a red rag affects a 
bull. Why, man, when you're born in the Sa- 
hara desert of French-Italian parents, you sim- 
ply cant be anything but a vampire. Really, 
nothing else is being done. Ask anybody along 
the Nile. But if Miss Bara's press-agent would 
only tell how eagerly papa Goodman watches 
for the postman, who brings daughter Dosha's 
bi-weekly letter — and how Cincinnatians love 
to say that "Theda Bara aint nothin' but a Cin- 
cinnati kike !" (in which statement there is more 
truth than elegance) — think what a relief it 
would be from these weird, wild tales of her 
shadowy infancy! It's a long journey from 
Cincinnati, Ohio, to the heroine in "A Fool 
There Was," and all the more credit to Miss 
Bara for making it successfully. Mister Press- 
agent, wont you please tie the cans to the Sa- 
hara stuff and give us a little human interest, 
while the orchestra plavs "My Dear Old Ohio 

Editor, dear, consider yourself overwhelmed 
with Congrats on the best picture magazine on 
the market. Aw vawr. 

We've got to keep our ear to the ground 
when the rising generation calls, or else be 
moral deaf-mutes. This letter from Mas- 
ter Donald Challans, 1353 Rose St., 
Regina, Canada, is food for both the pic- 
ture art and for the boys and young men: 

In the June edition of your Magazine a letter 
was published by you from Thomas Finnerty, 
(Continued on page 166) 




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receipt of fifty cents, stamps or coins 

Shakespeare said: "The play's 
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Most of these great players, and most of the others, have already made their appearance on the screen, and 
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When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



{Continued from page 164) 
Brooklyn. He protested against the way the 
heroines in the great military serials seemed to 
be able to outwit their enemies and opponents 
and endure a tussle against a big, brawny vil- 
lain. His remarks were all right, so far as they 
went, but he omitted one thing. What about 
those mysterious masked personages in the 
Astra serials, who turn up just in time to stop 
the shrinking heroine being ill-treated by the 
nasty villain? Take, for instance, "The Laugh- 
ing Mask." That gentleman showed a surpris- 
ing want of common sense. He ran around 
under the noses of chauffeurs and policemen as 
if he were not the man whom the police wanted 
for several murders. Then again, there are "The 
Shielding Shadow/ 5 "The Silent Menace" and 
the stranger in "The Mystery of the Double 
Cross." No doubt these blood-thrillers are in- 
tended to give us pleasure, more especially 
children, who are supposed to delight in such 
things. Being but a boy of fourteen, I can say 
that very few children really like them. In a 
theater, it is a common thing to hear adults 
say, "How foolish!" and certainly the mysteri- 
ous ones are. 

At frequent periods there are beauty contests 
in various photoplay magazines, and a woman, 
tho she may possess but little beauty, may 
have a chance to enter the realm of the silent 
drama. Why not have contests of some kind 
whereby men and boys can have a chance to be- 
come actors? There seems to be little chance 
for a boy living in Canada to enter the movies. 
Could you not establish some means so that 
both sexes may have a chance? 

The irrepressible Thomas Finnerty, 73 
South Second St., Brooklyn, N. Y v is with 
us again, and this time he philosophizes on 
Movie Etiquette: 

In regard to Mr. A. C. Cox's letter in your 
June number, permit me to suggest a few rules 
which should govern the conduct of all movie 

Helpful hints for movie fans: 

Upon purchasing your ticket, do not fail to 
call the cashier "Blondie" and exchange remi- 
niscences of last night's ball, given by the Boil- 
ermakers' Union. This will put the victims 
waiting on line in a good humor. 

If you happen to be one of the shriller sex, 
you will, upon entering, no doubt lamp an ac- 
quaintance on the other side of the house. Do 
not, under any consideration, go over to her. 
Simply stana where you are and shriek, "Yoo- 
hoo, Lizzie !" or whatever her label happens to 
be. If you can manage to think of some small 
talk, touching on the general health of her fam- 
ily, do not neglect to get it off your chest. This 
never fails to distract attention from the pic- 
ture and to put you in the limelight — a consum- 
mation devoutly *to be wished for. 

Removing jour shoes to ease your pet corn 
has been known' to draw flies, and for this rea- 
son it is no longer done by our best people. 

To go out for a drink between each reel is 
apt to annoy the other patients, and it will add 
greatly to their happiness if you have the fore- 
thought to take aboard a liberal cargo of liquid 
nourishment before entering. 

It is no longer considered good form to 
munch peanut brittle, as it renders the picture 
inaudible. Try to cultivate a taste for Virgin 
Leaf or Ivanhoe. 

If the picture breaks down, stamp your feet 
vigorously, to notify the operator of that fact. 
Operators are notoriously disagreeable, and the 
brute is probably doing it just to get your 

When the orchestra commits "The Yacka 
Hula Hickey Boola Boo," or some other oper- 
atic gem, do not fail to treat the inmates to an 
Impromptu concert, punctuated with numerous 
thumps with your trilbies on the seat in front. 

If you have taken a correspondence course 
in ventriloquism, the movies is an ideal place to 
practice. If some kill-joy suggests that, as you 
are apparently able to throw your voice any- 
where, you would oblige him by throwing it out 
in the alley, report him to the manager at once. 

When the orchestra plays "Let's All Be 
Americans Now" or "Nephews of Uncle Sam," 
be sure to stand up and denounce those who 
do not as being pro-German. This is guaran- 
teed to create quite a little excitement. 

There are many contingencies which, I am 
aware, are not covered by the foregoing rules, 
but I am confident that the good sense of the 
majority of movie fans will enable them to de- 
cide for themselves when these situations,* in- 
volving the proprieties, arise. 

Yours for Etiquette I 



My plain little house has no room to spare, 
For the kiddies swarm thru the blessed 
And the wife knows fear, and the wife 
knows care, 
But she meets them both with a smiling 
For we laugh a bit, and we rest a bit, 
And the good days come, and the bad 
days go, 
And we take the trips that we cant afford, 
Upon the screen at the Picture Show. 


My plain little purse is lank and slim, 

For we spend a bit, and we save a bit, 
And there's such a lot of the "musts" of 
That there's little left for the fun of it; 
But we share the good, and we share the 
And when evening comes, and the lights 
are low, 
The wife and the kiddies and I are off 
For a quarter's worth at the Picture 
Show ! 




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UNION EMBLEM CO., 542 Greiner Rldg., Talmyra, Pa. 

Do not confuse the "Motion Picture 
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This magazine comes out on the 1st of 
each month and the "Motion Picture 
Classic" comes out on the 15th of each 
month. These are the only publications 
in which this company is interested. 


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When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



The Movie Gossip-Shop 

{Continued from page 125) 
the stage have nothing to do but chase 
artificial will-o'-the-wisps. There are shop- 
ping raids and film reviews of themselves, 
mixed in with press interviews. Occasionally- 
some one goes back to nature. 'Tis so with 
Ann Murdock — she can double on the stage 
and screen, chase her hobbies, and still 
have time for a canter in Central Park. This 
means that Ann has got to beat the daylight 
hour by an extra hour or two and set her 
8 o'clock at 6. Once mounted on her horse, 
she says, "the city is forgotten," and the 
bridle-paths of the park, flanked by tall 
apartments, contain for her the lust of the 
prairie and the lure of the woods. 

Jackie Saunders recently took over an 
ostrich farm in satisfaction of « 


"Every one," laments Jackie, "of the 
rooster ostriches is covered with fine feath- 
ers, but nobody wears ostrich feathers now. 
These ostriches are eating me out of house 
and home. I tried to get back at them by 
eating an ostrich egg. No one else has ever 
eaten an ostrich egg and lived to tell the 

tale. It tastes — it tastes " Here Jackie 

made a face that was a composite picture 
of every suffering emotion under the sun. 


Here's another little contest for our 
readers. In the following verse is 
concealed the names of many stars 
— we wont tell you how many, except to 
say that there are more than a dozen and 
a half. You are to amuse yourselves 
by rewriting this verse, preserving the 
rhyme, but spelling the names of the stars 
correctly, and adding a list of the full 
names of the players : 

Lou, tell again Lee's little story, 

How strong, furry lions drew Morey 

Close a stonehouse, grey, 

One sweet, lovely May, 

An' M et" ham an' heart with true glory! 

We wont tell you whether the first 
name or the last name, or both, are in 
this verse — you must find out for your- 
selves. For the first correct answer re- 
ceived on or after July 15, 1917, we will 
award a year's subscription to this Maga- 
zine and to the Motion Picture Classic. 
For the second correct answer, a year's 
subscription to the Motion Picture 
Classic, and for the third, a year's sub- 
scription to this Magazine. In case more 
than three correct answers are received 
at the same time, we shall be compelled 
to award the prizes to those whose an- 
swers are the neatest and most artistic. 
Address "Constellation Prize Contest 
Editor," 175 Duffield St., Brooklyn, N. Y., 
or enclose with other mail to any depart- 
ment of the Magazine. 

William S. Hart, the movie favorite, is one 
of the most magnanimous men on earth. The 
other day an enterprising real estate man of 
Los Angeles took him out to look at a piece 
of land. Hart didn't want it, after he saw 
that it was rough, hard and rocky, but he 
listened very patiently while the energetic 
agent delivered his speech. Hart timed him, 
and it took the man exactly thirty-two minutes 
to get his realty phrases out of his system. 
When he was thru, Hart looked at him with 
that penetrating yet faraway look of his, and 
remarked nonchalantly: 

"You're a fine spieler, and all that you say 
may be true, but I dont want the property. 
If I bought it I shouldn't know what to do 
with it. To be downright honest with you, 
my friend, the only thing I think any one 
could do with a piece of ground like this 
would be to deed it back to God." 


Worlds Greatest Stars 
for all the People 


AFTER August 5, 1917, you 
Xx who want Paramount Pic- 
tures can have them at your fa- 
vorite motion picture theatre. 

On the above date Paramount 
will inaugurate a new policy of 
service to the entire play&oin& 
public Any theatre in America 
can secure Paramount Pictures 
and Paramount Stars, just as it 
chooses to book them. 

The Restrictions Are Off 

This announcement is the most 
important addressed to motion 
picture patrons since September 
1, 1914, when the Paramount 
program was born. 

By this plan your theatre will 
carry out your wishes. Para- 
mount will be able, for the first 
time, to satisfy the enormous 
public* demand. And, after all, 

Paramount Is a Public Service 

Paramount originated the fea- 
ture photoplay idea. Be£innin& 
with Sarah Bernhardt and James 
K. Hackett, we &ave to the screen 
the famous stars of the speaking 
sta&e, with master 
writers, master direc- 
tors, an investment 

of millions to lift motion pictures 
to their present hi&h plane. 

Paramount Has the Stars 

The Paramount roster includes 
such famous names as Mme. 
Petrova, Sessue Hayakawa, Jack 
Pickford, Louise Huff, Vivian 
Martin, Billie Burke, Julian 
Eltin&e, Margaret Illin&ton, Marie 
Doro, Fannie Ward, Ann Penning- 
ton, George Beban, Wallace Reid, 
Pauline Frederick, Marguerite 
Clark. Also, the famous Para- 
mount-Arbuckle two-reel come- 
dies, the Victor Moore and Black 
Diamond one-reel comedies, the 
Paramount Bray Picto&raph, 
weekly "Magazine on the Screen" 
and Burton Holmes Travel 

Ask for Paramount Pictures 

Your theatre manager is now 
able to secure the stars he may 
select — just as he wants to book 
them. Tell him you want to 
see Paramount Stars and Para- 
mount Pictures. Hand in the 
Box Office Request below. 
He will be &lad to 
know and will follow 
your wishes. 


Controlled bv 

Adolph Zukor, President 
Jesse L. Lasky, Vice President 
Cecil B. De Mille. Director Gen'l 



I should enjoy Paramount Pictures and 



When answering: advertisements kindly mention MOTION Pit IT KK M.U.AZINK. 



The parting gift— 

A P^est Pocket Kodak. 

It- is monotony, not bullets that our soldier boys dread. No fear, when the time 
comes, they will uphold bravely the traditions that are dear to every loyal American 
heart. But in the training camps and during the months of forced inaction there are 
going to be some tedious, home-sick days — days the Kodak can make more cheerful. 

Pictures of comrades and camp life, pictures of the thousand and one things that 
can be photographed without endangering any military secret will interest them, and 
will doubly interest the friends at home. Tens of thousands of brave lads in the camps 
and trenches of France are keeping their own Kodak story of the war — a story that 
will always be intense to them because it is history from their view-point. And when 
peace comes it will make more vivid, more real their story of their war as they tell it 
again and again to mother and sister and wife and little ones. 

The nation has a big job on its hands. It's only a little part, perhaps, but a genu- 
ine part of that job to keep up the cheerfulness of camp life, to keep tight the bonds 
between camp and home. Pictures from home to the camp and from camp to the home 
can do their part. 

There's room for a little Vest Pocket Kodak in every soldier's and sailor's kit. 
The expense is small, six dollars. The cheerfulness it may bring is great. They are 
on sale by Kodak dealers everywhere. 

EASTMAN KODAK CO., Rochester, N. Y., The Kodak City. 



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Write today for a copy of our helpful book, "The Care 
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Bottle of Mellin's Food. 

Mellin's Food Company, 

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the original greaseless cream — box of Sweet Pea face 
powder. Sent on receipt of 35 cents ( 50 cents in 
Canada) and name of your dealer. 

Canadian Office: 53 Yonge St., Toronto, Ont. 



- fini. 







, A 

Look to Nela Park 
for Better Lighting 

In the lighting of our streets we have made 
a vast improvement over the dim old oil lamps 
and sputtering electric arcs. Natjonal Mazda 
lamps now light our thoroughfares with a 
steady brilliancy that makes clear vision easier. 

The pictures on the screen at the movie theater are 
put there by a powerful beam of light. This is ™iZ 
mg problem much more difficult of solution than street 

eft "a g mo h" I T"? " SUPP ° SC that the **ZZ 
cent lamp which has g.ven us better lighting in our 

houses, stores, factories, trains, autos and 
streets will, because of its steady brilliancy 
be adapted also for use in motion 
picture projection. And when the 
operator has "nothing to watch 
but the film," he'll give you bet- 
ter pictures. 

Theater owner, and operators may secure full 

torn NeU Specialties Division, National Lamp 
Works of General Electric Co., l2? Nel, Park, 
Cleveland, Ohio. 



. ictrola XVII, $250 

\ ictrola XVII, electric, $300 

Mahogany or oak 

\5ctrola-the highest attainment 
in the arts of sound 

The mission of the Victrola is purely one of transmission. 
The recorder and reproducer should tell the simple truth, no 
more, no less. 

The Victrola is not an instrument in which the interpreta- 
tion and expression depend on the player like the organ, piano, 
etc. No instrument can be made to improve on Melba, Caruso 
and the other great artists. The true function of the Victrola is 
to reproduce faithfully the work of these artists. 

The only modifications permissible are those obtained by 
changing the needles from loud tone to soft tone and by adjusting the 
sound doors to suit the size of the room or the mood of the listener 

There are Victor dealers everywhere, and they will gladly play your favorite music for >ou and 
demonstrate the various styles of the Victor and Victrola— $10 to $400. 

Victor Talking Machine Co., Camden, N. J., U. S. A. 

Berliner Gramophone Co., Montreal, Canadian Distributors 

Victor Supremacy 

"Victrola" is the Registered Trade-mark of the Victor Talking Machine Company designating 
the products of this Company only. Warning: The use of the word Victrola upon or in the pro- 
motion or sale of any other Talking Machine or Phonograph products is misleading and illegal. 

To insure Victor quality, always look 
forthe famous trademark, "His Mas- 
ter's Voice." It is on all genuine 
products of the Victor Talking Ma- 
chine Company. 
New Victor Records dem- 
onstrated at all dealers 
on the 1st of each month 

Important Notice. Victor 

Records and Victor Machines are 
scientifically coordinated and syn- 
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of manufacture, and their use, one 
with the other, is absolutely essen- 
tial to a perfect Victor reproduction. 



When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 





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Anyone can put on. Big demand everywhere. Write 
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AGENTS MAKE BIG MONEY. Fast office seller; fine 
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Hosiery and Underwear Manufacturer offers permanent 
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MAN OR WOMAN TO TRAVEL for old-established 
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(Readers in distant towns will do well to preserve 

this list for reference when these speaking 

plays appear in their vicinity.) 

Gaiety. — "Turn to the Right." One of the 
best and most successful comedies of recent 
years. Full of laughs, with here and there a 
thrill and even a sob, but delightfully enter- 
taining from start to finish. 

Playhouse. — "The Man Who Came Back." 
A strong, gripping drama that holds the 
interest from beginning to end; superbly 
acted by Henry Hull and Mary Nash. 

48th Street.— "The Thirteenth Chair." A 
weird but gripping drama written around a 
"spiritualist" and her seances. Margaret 
Wycherly scores heavily as the star, and the 
play is one of the best in New York. By 
author of "Within the Law," Bayard Vellier. 

Loeic's N. Y. and Loew's American Roof. — 
Photoplays; first runs. Program changes 
every week. 

Bialto. — Photoplays supreme. Program 
changes every week. 

Strand. — Select first-run photoplays. Pro- 
gram changes every week. 


"The Inner Shrine" (Lasky). — Margaret 
Illington, one-time star of the speaking 
stage, makes her debut under the Cooper- 
Hewitts. For the picturization of such a 
novel, the story is strangely unconvincing. 
In her lighter moments the star fails to 
strike a sincere note, but carries the emo- 
tional passages with an ease and facility 
which augurs well for her second picture. 
The supporting cast, including Elliott Dex- 
ter, Hobart Bosworth and Jack Holt, is ex- 
cellent, p. A. K. 

"Love or Justice" (Triangle). — A melo- 
dramatic treatment of the self-sacrificing 
power of love theme. A female David Gar- 
rick. One of the best vehicles yet provided 
for Louise Glaum, who shines more bril- 
liantly than ever as the woman who gives 
up her lover that he may become a great 
lawyer. Of course, she is recompensed by 
obtaining his real love and respect, which is 
after all as it should be. The happy ending 
is still to be desired in our movie entertain- 
ment. H. S. N. 

"Hater of Men" (Fine Arts-Triangle). — 

Self-labeled a defense of mankind by its 

author, C. Gardner Sullivan. An excellent 

cure for the restlessness and rebellion of 

women against the bonds of matrimony. Mr. 

van has drawn with such deft fingers, 

'ife of the girl who chooses to be a toy 

r than the working mate of a man, that 

1 help more girls to a real understand- 

f the values of life than any problem 

e-opening play. Clean, true to human 

re, unmelodramatic, sane, simple, logi- 

well produced and excellently acted, 

ter of Men" is a distinct achievement. 

sie Barriscale is the star. H. S. N. 




"The Rough House" (Paramount Ar- 
buckle). — Fatty Arbuckle in his latest slap- 
stick comedy, composed of such old-time 
tricks and worn-out laugh-getting methods 
that one would think it produced years ago. 

P. A. K. 

"The Little Boy Scout" (Famous Players). 
— Chiefly noteworthy because of the distinct- 
ly feminine charms of dimply, rounded Ann 
Pennington. The story, that of a small 
Mexican maid who runs away from her 
wicked Mexican uncle, to a New England 
aunt, being helped and rescued a dozen times 
by a band of Boy Scouts and their Scout 
Master (Owen Moore), serves well as the 
basis for a pleasant pastime, but lacks dra- 
matic punch. P. A. K. 

"Poppy" (Selznick). — Norma Talmadge 
comes into her own again. Depicting the 
life of Poppy Destin from the age of four- 
teen to thirty, Miss Talmadge has an oppor- 
tunity to display her remarkable ability as 
a character actress. Eugene O'Brien makes 
a fascinating hero, as does Frederick Perry 
a "villain." All in all a splendidly directed 
picture. P. A. K. 

"Wild and Woolly" (Artcraft).— Douglas 
Fairbanks at his best in a rip-roaring west- 
ern comedy. Jeff Hillington is enamored of 
the West and believes that cowboys, bad 
men and Indians are still on the rampage. 
His father sends him West to be cured, and 
the townfolks of Cripple Creek, Arizona, 
play up to Jeff's delusion. Rich humor, 
clever athletic stunts and a lively plot keep 
"Doug's" audiences grinning and expectant. 

E. M. L. 

"Giving Becky a Chance" (Morosco). — 
The thoughtless selfishness 01 the only 
daughter, whose parents work themselves to 
death that she may have what other girls 
have, including an expensive boarding- 
school education, rich clothes and friends, is 
the basis of this essentially human little 
play. But the girl is made of the right 
material, and when she learns how great a 
toll her parents are paying to give her what 
she wants, she takes her rightful place by 
their side and repays them. The photog- 
raphy is unusually good and Vivian Martin 
never fails to be lovable and sincere. 

H. S. N. 

"The Girl Glory" (Fine Arts-Triangle). — 
An affecting little photoplay, dealing with 
the vice of liquor traffic. Glory, a young, 
small-town girl, has a veteran grandfather, 
whose only fault is a craving for alcohol. 
In order to cure him, Glory goes out with 
the town sport and really becomes intoxi- 
cated, thus causing the saloon's license to be 
revoked. Enid Bennett, Triangle's muchly 
advertised new find, proves herself not only 
exquisite to look upon, but a clever little 
actress. Seldom does one see a more pa- 
thetic characterization than that of Walt 
Whitman as the grandfather, who just 
couldn't pass by a whiskey bottle. 

P. A. K. 

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"Jimmy Dale — The Gray Seal" (Mutual). 
— A rather unusual series of crook and de- 
tective stories featuring E. K. Lincoln, Doris 
Mitchell and Edna Hunter. P. A. K. 

"Madcap Madge" (Triangle). — A prank- 
playing school-girl, kept sweet sixteen by an 
earl-hunting mamma and elder sister, runs 
away and marries the man who saves papa 
financially. Olive Thomas, a new star, 
shines sweetly and prettily as Madge and the 
picture is wholesomely but not hair-raising- 
ly novel. H. S. N. 

"Bungalowing" (Klever Komedies). — Vic- 
tor Moore in a travesty on bungalow buying 
at a dollar down and a dollar a week. A 
scream. Highly to be commended because it 
has a really original thought behind it. 

P. A. K. 

"American — That's All" (Triangle). — A de- 
lightful satire poked at the nouveau riche, 
overdrawn, of course, but none the less keen. 
Jack Devereau and Winifred Allen are the 
stars. T. L. E. 

"Her Strange Wedding" (Lasky). — Never 
have I seen Jack Dean more simpering, more 
unlike the strong hero he is supposed to 
represent than here. I am sure that Tom 
Forman, who takes the part of the weaker 
brother, could have knocked him over with 
his little finger. It is an unnatural picture 
thruout. In the first place, we doubt if 
a guest would interrupt a wedding service 
even if her bracelet had been stolen. Second- 
ly, we think a new-made wife, in love with 
her husband, would forgive him even if she 
did discover he was a thief. Fannie Ward is 
the picture of eternal youth, but we do itch 
to pun L°r mop ^"..Mir down. Otherwise 
there's no fault to find with the picture. 
Oh, yes, some praise: Tom Forman acted 
like a human being and deserves better than 
secondary parts, and the scenery was beau- 
tiful. H. S. N. 

"The Saintly Sinner" (Universal). — One 
of the best things Ruth Stonehouse has 
ever done. As the wealthy boarding-school 
miss, she's adorable — as the sad young 
stenographer, afraid of the web of her 
licentious employer, she is very sweet and 
pathetic — but, finally, as the defender of an- 
other girl's wrong, she rises to undreamed-of 
heights of both beauty and acting. Jack Mul- 
hall is ideal, as her leading-man — the disso- 
lute son of the governor, reformed by 
Ruth, and returning, in the last moment, in 
time to save her from the electric chair. 
The suspense of the almost-too-late reprieve 
goes a little farther, this time — in the 
shadows, you see a woman's figure strapped 
to the chair, a close-up of a hand throwing 
in the switch, and then, knowing that the 
pardon is on the way, you have a sickening 
gulp of disappointment, just as the warden 
announces that the socket has blown out, 
and the girl is saved. It's melodrama, but it 
grips. Raymond G. Wells is responsible for 
the direction of this. R. B. C. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



"A Roadside Impresario" (Pallas). — Given 
a stale plot with conventional situation, in- 
volved with a long "memory" story of the 
past, and you would expect a poor outcome. 
Decidedly not so; George Beban, as the wan- 
dering Italian in search of his lost child, 
and his performing bear, Bruno, do more 
than lend a touch of picturesqueness. Beban's 
splendid characterization, his simple heart- 
touches, his message of nobility under the 
peasant's jacket, are beautifully rendered. 
His little touches make a weak plot strong. 
E. M. LaRoche. 

"The Cure" (Mutual). — In this comedy 
Charlie Chaplin reverses the order and con- 
stantly receives the sympathy of the on- 
looker, whereas, usually he is the one to do 
the pie-throwing and other mischievous 
pranks, and gets no sympathy for his misfor- 
tunes. There is a slight vein of pathos run- 
ning thru this play which adds to the inter- 
est not a little, and yet the comedy is as 
strong as ever, perhaps a little stronger, for 
it has more real laughs in it than ever. 


"The Rough House" (Paramount). — The 
latest of Roscoe ("Fatty") Arbuckle's slap- 
sticks. Hardly up to its predecessors, but 
funny enough for those who like this sort of 
thing, even if it is now considered out-of- 
date. J. 

"God's Man" (Frohman). — A vivid, power- 
ful picturization of George Bronson How- 
ard's famous novel, featuring H. B. Warner. 
Easily one of the best plays of the year, if 
not of all time. It is founded on a lofty 
theme and appeals to the higher intellect 
and emotions, yet there is just enough melo- 
drama in it to make it interesting to those 
who seek merely excitement. Beautifully 
staged, excellently acted, and superbly photo- 
graphed. My hat is off to the people who are 
responsible for this masterful play. J. 

"On Trial" (Essanay). — Founded on the 
Cohan and Harris big stage success of Elmer 
Reizenstein's melodrama by that name. Sid- 
ney Ainsworth plays Robert Strickland, the 
leading role, and Barbara Castleton is the 
wife "On Trial." Little Mary McAllister 
appears as little Doris Strickland and is a 
most- appealing child artist. In this drama 
that favorite device of the photoplay, the 
flashback, was used. In the trial scene the 
wife of the man who was killed started to 
testify, and as she spoke the courtroom j 
scene dissolved and when the lights came 
on again her testimony was enacted before 
the eyes of the audience. A compelling play 
with a strong cast. L. M. 

"Perils of a Bakery" (Keystone). — The 
funniest thing about this is Harry McCoy as 
the would-be baker. The prettiest thing 
about it is Vivian Edwards. She is an ex- 
quisite little thing, and would that we could 
see her as something other than the froth 
on the Keystone oceans. She is quite capa- 
ble of starring, alone. R. B. C. 

"Think Beyond Your Job!" 

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corporation. Last year he earned more than a 
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BGas Engineer 
B Surveying and Mapping 
B Metallurgist or Prospector 
§ Marine Engineer 
Contractor and Builder 
3 Architectural Draftsman 
3 Concrete Builder 
Structural Engineer 
_ Sheet Metal Worker 


Window Trimmer 
Show Card Writer 
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Common School Subjects 

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3 Textile Overseer or Supt. 

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and No, 


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The Motion Picture Magazine 
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should there be any misrepresenta- 
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"Big Timber" (Lasky).— Even tho the 
eternal triangle is the motif of the story, 
the author has given a new and most inter- 
esting twist to an old theme and made it 
seem almost original. Wallace Reid is a 
manly husband of a wife who simply mar- 
ried him to escape from an impossible situa- 
tion. Kathlyn Williams is forceful and con- 
vincing as the wife, tho her success Is 
marred at times by little inadvertencies, 
which call up a smile of derision from the 
observant ones. For instance, when Stella 
(Miss Williams) falls out of her rowboat 
and is rescued by Walter Monahan (Joe 
King), after desperately fighting the strong 
current of this Northern river, Stella Is 
placed safely on terra firma, her hair, her 
dress, her dainty feet, as dry as when she 
started off for her lonely row. And, again, 
Stella would appeal much more strongly to 
popular favor if she arrayed herself in habili- 
ments more fitting to the grand Northern 
woods. To see a young lady picking her way 
over giant tree-trunks, and rowing feverishly 
on a turbulent forest stream, attired in a 
striped pique skirt and spotless shirt-waist, 
makes the live ones in the audience groan in 
spirit. T. H. C. 

"Bawbs o' the Blue Ridge" (Triangle). — 
Bessie Barr'scale, for, I think, the first time, 
in a ragged little mountaineer part. The 
play was well written, and Miss Barriscale's 
characterization splendid. Arthur Shirley- 
lent acceptable support to the "poah writin' 
man." The author, Monte M. Katterjohn, is 
to be congratulated on his subtitles — the 
dialect of a North mountaineer being almost 
perfect. The one false note was Bawbs' sor- 
row for the death of the wicked, domineering 
aunt. If the aunt had been made a more 
lovable character, we could have sympa- 
thized with Bawbs' grief much better. A 
scene that is sure to make a hit with Miss 
Barriscale's admirers is the involuntary bath 
given Bawbs by the huge negro woman, 
whose pickaninnies stand around and shout 
gleefully, "Oh, goody! Bawbs is gitting 
scrubbed up, too!" R. B. C. 

"The False Friend" (World). — A tiresome, 
old-fashioned, melodramatic story, of the 
villain in love with the heroine, who is will- 
ing to dare all for her sake, even to the 
length of having his valet cook up a lot of 
circumstantial evidence against the hygieni- 
cally pure and chaste hero, who is too good 
for mere words. Robert Warwick has this 
milk-and-water part, while Gail Kane strug- 
gles manfully (or womanfully) with the 
idiotic role of Virginia Farrel, a shuttlecock 
of a woman who can never seem to decide 
anything for herself, despite the fact that she 
looks remarkably intelligent. There must be 
people who like these things — or they 
wouldn't be produced. R. B. C. 

"The Page Mystery" (World).— This play 
is as good as the foregoing is bad. The 
Page Mystery has, first of all, a story that 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 




couldn't be spoiled. It's a regular Edgar 
Allan Poe mystery, in which about half-a- 
dozen people are all armed, and waiting to 
shoot the villain, and, when he is finally 
murdered, everybody with a gun begins to 
act suspicious. Arthur Ashley, as the vil- 
lain, is great! His crawl thru the snow, 
and back into the house, ending with a tum- 
ble down the stairs that is breath-takingly 
realistic, is pitifully like that of a wounded 
animal crawling into a hole to die. I re- 
peat that Arthur Ashley, as a villain, is im- 
mense! Carlyle Blackwell is the hero — a 
young Englishman who has shouldered the 
burdens of his oldest brother's sins, in order 
that the older brother may "inherit" accord- 
ing to tradition. And Mr. Blackwell is quite 
good in the part — one of the best he has had 
in a long while. June Elvidge — well, I cant 
admire June as a "sweet, young thing." As 
a vampire, she leaves little to be desired — 
but as a heroine, especially one down-trod- 
den by so much trouble, she isn't convincing, 
or even pretty. Lila Chester as a very pretty 
young opera singer, whose morals were in 
the discard, was the best of the women in 
the piece. She is a beauty, and a very 
clever actress. A young woman who looked 
like Theda Bara furnished some more dark 
villainy, and was among those present at 
the "gun-holding" convention, being sus- 
pected of the Page murder, along with half- 
a-dozen others. Not the least part of this 
picture were the subtitles, which were 
"spooky" to say the least of it. A corking 
mystery picture! It. B. C. 

"The Slave" (Fox). — Another trashy pho- 
toplay. The terror of the situation finally 
attains such strength that the director has 
turned the whole nightmare into laughter, as 
Poe did in "The Premature Burial." But 
the odors of evil remain in one's memory; 
It is a strange, weird, much out-of-the-or- 
dinary picture, individual to a degree. Val- 
eska Suratt, always a pliant and workable 
movie actress, is so much more impressive 
here than on the stage that one wonders 
why she should ever go back to it. Photo- 
graphing very well, the lady of polka-dot 
gowns and outlandish hosiery displays a 
wardrobe large and insane. Her support is 
quite "actory." D. A. D. Jr. 


On page 138 of the August Magazine 
we printed a puzzle of various designs, 
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rect answer was to get a year's subscrip- 
tion to the Magazine. The first correct 
answer was received from GlenT.Killion, 
Garden City, Kansas, who telegraphed 
the words "Motion Picture Magazine" 
and later confirmed it with a letter, so 
the prize goes to Mr. Killion together 
with our congratulations. 

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Thomas H. Ince has arrived back on the 
Coast, and is going ahead rapidly with the 
plans for his new company. It is under- 
stood that he will release his features on the 
Artcraft and Paramount programs. 

The Marine Film Company have completed 
their scenes on the Santa Barbara islands, 
and have returned to their studios in Holly- 
wood to finish up the picture. Henry Otto 
says that he secured some beautiful back- 
grounds for his scenes while there. Tyrone 
Power and Frances Burnham will be fea- 
tured in the production, while Jay Belasco, 
Winifred Greenwood, John Oaker and Gypsy 
Abbot will be among the supporting cast. 

Charles Ray has severed his connections 
with the Triangle Film Corporation and has 
joined Thomas H. Ince's new company. 
Charlie has always been under Mr. Ince's 
supervision, and decided to stick with him 
when the latter sold out of Triangle. His 
last picture on the Triangle program will 
be "Sudden Jim." 

George Periolat has gone back to playing 
deep dyed-in-the-wool villains once more. 
He is doing a picture with William Russell 
now, in which he is the worst kind of a 
villain imaginable. George thought that he 
was getting to be more gentle in his crooked 
film ways until he was given his present 
part by Director Edward Sloman. It is a 
very good part, however, and Periolat is 
•enjoying doing it, 

Bessie Barriscale and Jack Kerrigan 
have started to work for the Paralta at the 
Clune studios, and are well advanced with 
the making of their first pictures. Both 
Bess and Jack think that they will do the 
best work of their careers with the Paralta 

Myrtle Stedman, the Paramount star, is 
now making a tour of the country, appearing 
at the various picture houses in each State, 
and addressing the audiences. Myrtle is also 
doing something new and novel in her line. 
She is singing a song or two at each theater, 
and believe me, Miss Myrtle has some won- 
derful little voice! She studied for the opera 
long before she ever thought of entering the 
silent drama. She is making quite a hit 
with her novelty, and is kept on the go all 
the time. 

Al Ray has a wonderful wide-awake coat 
of sunburn that he inherited from three 
weeks of work at the beach. He says that he 
has tried all the preparations for removing 
sunburn that there are. 

Mack Sennett has sold out his Keystone 
name to the Triangle, and will probably 
make comedies for the Paramount program, 
issuing one every two weeks. He will keep 
his Edendale plant, while the Keystones 
will most likely be made at Culver City. It 
came as quite a surprise to some, but many 
expected it when the announcement arrived 
that Thomas II. Ince had sold out his in- 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



The Lehrman Sunshine Comedy Company 
on the Fox lot is beginning- to look like 
Keystone in the old days. Dick Jones, Dave 
Kirkland, Hugh Fay, Edward Kennedy, 
Harry Russell, Jack Weiss, Dot Farley, and 
Boss Henry Lehrman are the old Keystoners 
now on the job, turning out the funny pic- 
tures for the Fox program. 

Jay Morley has been fighting again! No, 
not in the ring or the street, but on the 
stage of the Bernstein studios on Boyle 
Heights. Jay had one terrible slugfest with 
the villain, and was sore for several days, 
but he was even more so when he found out 
that there had to be a retake and the fight 
filmed over again. Jay used to box quite a 
good deal, but when once you stop for any 
length of time there is an awful stiffness in 
evidence when taken up again. 

Speaking of the Sunshine, Lloyd Hamilton, 
famous as Ham in the Ham and Bud come- 
dies, has joined the company after leaving 
Kalem, with whom he had been for several 
years. Lloyd is being featured in a new 
comedy, and is all dressed up — everything 
changed but the face. Jack Weiss and Kitty 
Howe are directing the picture. 

Changes are getting to be a very common 
thing at the Pacific Coast studios. Every 
day something new in the change line comes 
up. C. Gardner Sullivan, the best known 
writer of photoplays for the screen, has left 
Triangle to go with Ince. Ditto Enid Ben- 
nett and Dorothy Dalton. Lynn Reynolds 
and Jack Conway have joined the Triangle 
forces to direct. A visit from H. O. Davis 
is expected at any moment at the plant. 

Herbert Rawlinson is getting to be some 
versatile little fellow. One night he wins a 
swimming contest in the tank, and the next 
evening he walks away with a dancing con- 
test cup. 

Monroe Salisbury has gone to the Univer- 
sal to do a picture with Rupert Julian. 
Monroe has a wonderful part, and hopes to 
make the most out of it as he has done with 
his other work. He seems to be increasing 
in popularity every day, and is always in 
demand. He hasn't been idle for the past 
two years, altho he would like to get away 
long enough to enjoy a vacation on his ranch. 

The Smalleys are at work in their new 
studio, producing independent pictures, and 
seem very happy in their new surroundings. 
Mildred Harris is playing the leading role 
in the feature they are staging at the 
present time. 

William D. Taylor, the Morosco director, 
has received many letters from both ex- 
hibitors and film fans, asking him to return 
to the screen, since Vitagraph reissued his 
"Captain Alvarez." Taylor insists that there 
is no chance of his returning to the screen as 
he is too wrapped up in his directing to 
tackle the acting end again. 

Dashing Harry Ham, former Christie 
juvenile, has joined the aviation corps, and 
is now practicing his feats in the air instead 
of on terra firma. 

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. . ,, 

1 1 1 1 1 1 n 1 1 1 1 1 1 >.- - 

Once More and Again, the Cry Is 

I! A Bigger and Better 

|l Another Big Surprise in Store for 

Classic Readers 

11 ¥ T ERE is the secret of the biggest 

i| r~| thing that has ever happened to 

|! the Classic, or for that matter to 

§1 any other publication: Beginning with 

ll the October number the entire Classic 

If will be printed in gravure! This means 

|i those beautiful soft brown and green 

II pictures from cover to cover. Besides 

U that— 

ll The gallery of players' portraits will 

If contain more pages; and 

|| There will be a goodly number of 

I | added pages; 

II This means more departments, more 

ll stories, more articles and chats, more 

ll beautiful pictures. 


|| The "Classic Extra Girl" is with us 

Si again — her vivid experiences while 

| ! "working extra" with Pearl White. 

U "A Visit to the Stars' Dressing-rooms" 

1 1 — inside peeps into Miss Film Favorite's 

1 1 beauty parlor. 

ll "Romeos and Juliets on Horseback" — 

il a dashing canter with a troop of stars 

if on their favorite mounts. 

|l Each feature larger, newer and finer 

II in the Prince of Picture Magazines. 

it Leave your order with your dealer now, 

!| to be sure of getting it. The price will 

ll remain at twenty cents a copy. 


|| 175 Duffield Street, Brooklyn, N. Y. 

A Perfect Complexion 
or your money back 

Viola Cream hasbeen in general use for 35 years. Every woman 
who has used it faithfully knows the blessing of a perfect complexion. 
It preserves the clear, rosy akin of girlhood. Viola Cream makes you 
look younger as you grow older. Steals away your freckles, clears the 
skin of pimples, tan, sunburn, chap, blackheads and all blemishes. 
Creates and preserves a healthy, beautiful skin for young and old 
without growing hair. Cheaper because it goes ten times farther. 
"My face was full of pimples, blotches and muddy color. Thanks 
to Viola Cream, my skin is now smooth, velvety, and has a beautiful 
color of which lam very proud. ' ' Mrs. Scott, Cleveland, O. 

"I have used Viola Cream 26 years. 
What more could 1 say In its favor?" 

Mrs. J. O. Galbrath, St. Louis. 
if you are 
not satisfied. 


The G. C. Bittner Company 

29 Viola Bldg., Toledo 

Regarding Our Art Gallery 

Several of our readers have suggested a 
remedy for the complaint that they do 
not always see pictures in the Gallery 
of the players they wish for most. For 
years the Editor has tried to keep his fingers 
on the public pulse, and in making up the 
Magazine each month he has tried to remem- 
ber what has been most demanded and to 
publish such material as would please the 
greatest number. While it is quite impos- 
sible to get every reader's opinion, and while 
it is impractical to ascertain what sort of 
article and department appeals to the great- 
est number, it is possible to give all an 
opportunity to designate what pictures they 
prefer in our Art Gallery and on our cover 
each month. So, hereafter, we shall publish 
a coupon and invite our readers to make 
their own selections. Each month, when the 
time comes for making up the Gallery and 
cover, the Editor will assort and classify 
these coupons and choose pictures of those 
players whose names appear the most times 
on these ballots. So, if you do not see your 
favorites in the next Gallery, you will know 
that it is either because we did not obtain a 
suitable photograph in time, or because your 
favorites did not get enough votes during 
that month. Please note, however, that our 
Galleries are made up in advance, and it may 
be two months before your votes are effec- 
tive. Our motto shall be: "This Magazine is 
YOUR Magazine, and the majority shall 
control." In other words, to borrow Jeffer- 
son's famous phrase, "The greatest good to 
the greatest number." We publish the cou- 
pon below. Fill it out and mail it to the 
Editor, or inclose it with any other mail 
that you happen to be sending in to any 
department of the Motion Picture Magazine, 
175 Duffield Street, Brooklyn, N. Y. 

I request the Editor to publish in the next 
Art Gallery pictures of the following players. 
I have marked a cross opposite the one that I 
prefer on the cover. 








Applied Maxims 

No movie star is a hero to his director. 

The eyebrow pencil is mightier than the 

The Pickford smile is the greatest cash 

Man's inhumanity to man makes count- 
less movie thrills. 

Immortal Caesar dead and turned to clay 

May be the brick Charles Chaplin throws 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



It Pays to Be Famous 

Since De Wolfe Hopper worked in 
Moving Pictures he has many funny 
stories to tell. This one advertises a 
fellow player : 

"One day I met a colored maid in the 
road, accompanied by a dog, a magnifi- 
cent specimen of the St. Bernard type. 
I asked to whom the dog belonged. 

" 'He b 'longs to my missus' (naming 
a well-known screen artist). 

" 'Aren't yon afraid of him? He's aw- 
fully big.' 

" 'No indeed, sah. Dis dog wont harm 
nobody; he's jnst chuckful of fun all de 

" 'What kind of dog is he?' 

" 'Well, sah, I hears my missus call him 
a full-blooded Sam Bernard.' ' : 

As It's Done in Society 

Virginia Pearson, popular Fox star, is 
noted for her private philanthropies. It 
is not a fad with her, but Miss Pearson, 
having a keen sense of humor, tells this 
story on herself, thereby scoring a hit 
on philanthropy as a fad : 

"I was making a call on a poor woman 
in whose children I had become inter- 
ested. When I started to go I gave her 
a card with my name and address and 
said, 'If there's anything I can do, let 
me know.' 

' 'Thank ye, mem,' said the woman, 
'but ye'll excuse me if I dont return the 
call, wont you? I've no time to go slum- 
ming meself !' ' 

stage and screen 

A Youthful Censor 

Ethel Barrymore 
favorite, tells this story of her father 
"One day my father, Maurice Barry- 
more, met Sidney Rosenfield on Fifth 
Avenue, and the playwright rushed up 
to him, all excitement. 

: ' Oh, Maurice,' he wailed, 'I've had 
such a misfortune !' " 

' 'What's the matter?' inquired father. 
'Anything wrong with your family?' 

'Yes,' said Rosenfield, 'my little boy 
got hold of my new play and tore it to 

4 T didn't know the child could read,' 
said my father, and went his wav." 



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It is nine-tenths a matter of knowing 

where to get plots and after that a 

knowledge of dramatic construction. 

These two prime requisites are now set forth for 

the first lime in the history of Photoplay Writing 

by the greatest authority. 

Tells What Plots Are— Where to Get All the Plots 
You Can Use — How to Build Them — How to 
Make Any Material Dramatic — How to Get the 
Punch Every Time. Also A SPECIMEN PHO- 
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Schools, Colleges and Libraries thruout the United 
States. Indorsed by ALL AUTHORITIES. 

THE PHOTODRAMA By Henry Albert Phillips 

Member of Edison Staff; Associate Editor 

Motion Picture Magazine; Photoplay Lecturer 

for Y. M. C. A. Introduction by J. Stuart 

Blackton, Yitagraph. 

224 Pases-Clath Bound -Stamped in Gold. Postpaid $2.10 

By the same author: "The Plot of the Story." "Art 
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All four books, $5.00. 

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Wnen answering advertisements kindly mention MOTION I'lCTl'RE MAGAZINE. 



A Roomful of Color 
A Bookful of News 

The September Classic Features June Caprice 

in the Stunning Autumnal Colors of 

Red, Yellow and Gold 

Twenty Cents a Copy, Out August 14 

The charm o youth has never been more glowingly portrayed than in the cover painting 
of June Caprice on the September Classic. It is by far our handsomest painting. Leo Sielke 
Jr., made a personal study of the little wonder-girl, June Caprice, and has caught and im- 
prisoned in warm pigment the blue, ivory and golden gleams of her eyes, skin and hair. 

"Home Bayonet Practice"— The boys are marching to the front, and the stay-at-homes 
are defenseless. In a very instructive artick illustrated with poses by himself, William 
Desmond, Triangle's athletic star, tells all aoout self-defense with a bayonet. 

"A Picture Kennel of Famous Actor-Dogs"— Lillian May has made the round of the 
studios and watched all the regular actor-dogs at work. In a sumptuously illustrated feature 
article she tells us all about them. 

"Pauline Frederick"— A "Close-up" Chat. Here is an intimate Chat by Carl Seitz 
that tells a lot of new and interesting things about her. 

"The Scenario Reader's Humoresque"— Xorbert Lusk is an original thinker and 
has absorbed many vivid impressions from his mile-high pile of authors' "brain- 
children. These he has set forth in a very amusing as well as thoughtful essay. 

"Roping Douglas Fairbanks Into an Interview"— Frederick James Smith, former editor 
of the Motion Picture Mail and photoplay critic of the New York Evening Mail, is at his best 
in a heart-to-heart talk with the one and only "Doug." 

"Tricks of the Screen"-Some of the studios did not want us to "expose" their trick 
photography, but Dorothy Dickinson has made a tour of personal inspection and bears 
witness as to how the best known "screen magic" is posed and operated. 

"The Sidney Drews"— To catch this busy pair en famille is like seeking the bee at 
home in clover-time. Illustrated with snapshots and exclusive pencil drawings by 
James Montgomery Flagg. 

Among the News-Gatherers— "Via Camera, Wire and Telephone" has set all 
the studios to competing with each other and the last-minute illustrated news de- 
partment will continue to click its typewriters and snap its camera-shutters up to the 
closing date. "Greenroom Jottings" and "Pithy Paragraphs from the Pacific" promise a 
hundred items of news. Our reserve pages will be packed full of surprises, beautiful 
new pictures, short stories by noted authors, taken from the latest screen features, summer 
puzzles and novelties, costumes and "creations" galore 


wnen answering: advertisements kindly mention MOTION PICTURE MAGAZINE. 

Auu -6 1917 ©CIB393305 

r ^wWis;^ - ' 7 or September 

LONTIrNTfr.^s^ ■ moJ'onpJctucb 


,. TT , . x 1 a Leo Sielke. Jr. 

Cover Design. Painting of Harold Lockwood . . . ■ • "Junius" 6 

Guide to the Theaters. Stage plays that are worth while . ■ • J™ 

Photoplay Reviews. Critical comments on current cinemas . ' D lkZlb>le 12 

Patter from the Pacific. All the latest news from the Coast . . Dxck Melbourne u 

Art Gallery oe Popular Players. Printed by the Rotogravure Process . . 

ALL ABOUT THE SUBMARINES How they destroy ^^J^ ro ^ BMa ,,. Lal<ochc 27 

and how they are made to do service in Motion Pictures ^^ ^^ ^ 

Ode to Gail Kane ' p cad Qaddis 33 

Charles Ray, a Reg'ler Fellow . . . • • •. " . " 

Dame Fashion's Horoscope. Film favorites as seen by their favorite ^^ ^^ ^ 

WHA? S THE eS NiTioNAL Board of Review' Stands For. By Themselves. 

Shooting the Shoots at George Ovey. An echo of the studio base- ^ ^^ r p ^^ ^ 

ball season . . • » • • ' ' ,_x 

One Mile of Film. What it means in terms of money, energy, art p 4; 

and equipment to give the public a 5-reel picture . 51 
Tack and the Beanstalk. Short story. • f " ,* t " ■ ' 

THEIR' FAVORITE ROLES. In which some of the most popular players ^^ ^^^ 5 q 

discuss their best-liked roles Cflr/ ry ^eitz 69 

Truthful Dorothy Bernard. A chat. . . ■ • ' ' AJb p h un ps 73 

The Photodrama. A department for scenario writers . . ^luiry Siioert r y 

William Garwood Plays Various Roles. Director, actor, athlete ^ ^^ ^^ ?; 

and author . . . n • • • H.Sheridan-Bickers 80 

^^AL^NDEL^^Xm^ate impression of ^M.- Chum Cleipatri" *. »mi~**.r, 87 

HOW I GOT IN. Roscoe Arbuckle, Bryant Washburn, Cretghton Hale, and ^ Q{ 

Harold Lockwood ••','"* 97 

Limericks. Monthly prize contest for our readers . ■ ^ ^-^ p Qrsot [ s 99 

Corenne Grant. A reincarnation • ^^ ^ ^^ 1Q3 

Earl Fox, Alias ''Silver Spurs" Vorothx Donnell 105 

A Kiss for Susie. Short story . . . • • • • ,,„.„,, n ea ttv 115 

^B.ckstop" Shirley Mason. Screenland's nippy little ball-player . . Jerome beatty 

Fighting on the Screen How the celebrated fighters ; on the screen n; 

were managed and how the friendly fighters fared . . . • _, 

The MovTe Gossip-Shop. Pictured news sauced with tittle-tattle from Screenland . . 1-3 

Greenroom Jottings. Little whisperings from everywhere in playerdom . ^ g 

Favorites of the Screen. Prize verse competition . . . . • • • • ^ 

THE ANSWER MAN. An encyclopedia of wit, wisdom and fact, . . 1 he Answer 
A Star from the Dressing-Room Doorway. Harold Lockwood-an intensely ^ ^ ^^ ^ 

human American ■ ... 158 

Letters to the Editor 


(Trade mark Registered.) Entered at the Brooklyn, N. Y., Post Office as second-class matter. 

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' Lv/^1917, in United States and Great Britain, by The ,11 P Publishing Co., a New York Corporation 
Lup - rig w ith its principal office ar Bayshore, N. Y. r Magazine 

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N days of olde, a BUSHMAN boldc 
Along his way did wander ; 
His footsteps strayed, a LOVELY maid 
Ye object to encounter. 

"By skye above canst REID my LOVE?" 

Began ye BUSHMAN roughe ; 
"Re-JOYCE with me " then paused to see 

Ye maiden in a HUFF. 

Quoth maiden pert, "My HART is hurt, 

So prithee do not bother ; 
To capture me you fain must see 

The haughty EARLE, my father." 

"My PATHE he blocks, ye wily FOX," 
Quoth BUSHMAN with persistence ; 

"He'll meet with me e'er yet he be 
Ye BAYXE of my existence." 

With growling harsh from out ve MARSH 

A HALE and hearty LYON 
Sped o'er ye grounde by leape and bounde, 

Ye luckless lovers spying. 

Quoth maiden child, "Yon LYON wild 
Can FORD this LITTLE river"; 

Ye BUSHMAN roared and DREW his sworde 
(Ye maiden all a-quiver). 

"Ye beaste lav dead!" Sir BUSHMAN 

"Now o'er the SNOW so WHITE 
Let's flee away, my guiding RAY, 


Oh, SWEET and shinins 


Olive Thomas, Triangle's new-found star, is a disciple of the out-of-doors —the long hike and the 
vigorous sea-splash. Her footliffht training in the mazes of the song and dance of Ziegfeld s 
"Follies" assures her an active picture career. 

The Ailison-Lockwood hyphen first became a question mark and is now improper punctuation. 
Anna Little is the new "hyphenated star" in Little-Lockwood. * 


Like Rider Haggard's "She". Olga Petrova is seeking immortality. "The Waiting Soul" and 
Undying Flame" both defy the theory of "ashes to ashes, dust to dust." 


Louise Glaum, Triangle's emotional lead, claims the blue ribbon for the interpretation of bizarre 
roles and the creation of outre modes. Trying to Anglicize •'modiste" into "modest" ; « » trying 
situation for a screen vampire. 

:•• • ••: 

«T-m : •■: :;.,..i:!.„:;„M!J....:. , -..:i. 


•• • •- « 

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•» • * • •:.,,::„„;„/ 
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Daredevil Patrick O'Malley has "ridden the films" as well as he used to ride bareback, 
venturous career has associated him with such famous shadow players as Gene Gautiei 
-ott and Gladys Hulette, in comedy, character and dramatic roles. 


"She's no good — send her back to the laundry!" was the first studio criticism passed upon Margaret 
Thompson by a director. It was her first offense as a leading lady— before that she had been just 
one of the "mob". Since then, three years of stardom have routed all criticism and firmly fixed 
her in the stellar firmament. 


It's all wrong to say that stars never rest in their courses. William Farnum, the Fox planetary 
>w in strict retirement at Sag Harbor. N.Y., building up enei g screen flights. 

Neither being "Little Mary s kid brother nor "Freckles" "as publicized the face of Jack Pickford. 
He came into Screenland by the ab lity route and Famous Players have issued him both unlim.ted 
mileage and footage. 

\M'/' J^eui ^J/ii 



r ddwm jHz.Mx Ilee£e 

The first undersea vessel to sink a 
warship in actual warfare was the 
David, a tiny wooden vessel pro- 
pelled by hand-power, which attacked and 
sunk the U. S. Housatonic off Charleston, 
S. C, during the Civil War. People soon 
forgot about the little David's prowess in 
sending a Goliath warship to the bottom, 
for the mighty exploits of the Monitor 

is a curious thing to note that the first 
practical submarine, invented and tested 
in 1881, is associated 1 with Motion Pic- 
tures. Frank Currier, the veteran actor — 
one time Frank Currier, able-bodied sea- 
man — made the first trip with Holland on 
his first submarine, The Irish Ram, in 
the waters of New York Bay. Their 
little craft was blind, as it had no peri- 
scope, and 
ended its ad- 
v e n t u rous 
career by 
r u n n i n g its 
nose deep into 
a m u d - bank. 
Its o n 1 y oil- 
lamp crashed 
to the floor, 
and for_a dra- 
matic hour its 
crew was left in 
darkness a n d 

and the Merrimac soon overshadowed it. 
But Jules Verne dreamed a dream 
with his Nautilus in "Twenty Thousand 
Leagues under the Sea," and the world 
responded that it was time for him to 
stop printing such hasheesh foolery. It 





But in time the little craft shot to the 
surface again, and the theory of the sub- 
marine was proven. Fully as dramatic 
were the early trials of Captain Simon 
Lake in his little submergible, the Lake. 

The navies of the world began to wake 
up from their dreams of fancied security, 
and in 1889 the French submarine, the 
Gitstave Zedc, gave warning to the bat- 
tleship Magenta that she was about to 
sink her, disappeared under the waves 

size, their efficiency, their power, their 
armament is a secret that belongs to the 
Government alone. 

This brings us around to the statement 
that the submarine has been used in 
Motion Pictures, but no Motion Pictures 
have been used in the submarine. It is 
true that the United States and other 
governments have permitted the exteriors 
of their submarine craft to be photo- 
graphed and to be projected on the screen 
' ■ both for dramatic 

and topical film uses. 
No photographer 
has ever descended 
into the interior of 
submarine and 
come out without 
going to a military 
prison. The secret 
of the submarine is 
as closely guarded 
as the 
house of 


and launched a torpedo that struck the 
battleship fairly under the water-line. It 
was a sham battle, of course, but if the 
torpedo had been charged, another great 
sea tragedy would have been written into 

Immediately thereon the naval nations 
of the world started building submarines 
in alphabetical progression. The "A" 
type were the first practical submarines 
in the British navy, which have found 
their latter-day perfection in the modern 
"E's." The ultra-modern German sub- 
marine is expressed in the "U" type, and 
it is said that the ones now planned are 
250 feet in length and will have a cruising 
radius of 8,000 miles. This, too, brings 
us down to the United States "K's" ; their 

or the 
mystic temple 
of the Grand Llama. 
It is only recently 
that, thru the cap- 
ture of enemies' submarines, their closely 
guarded secrets have been found out 
— these secrets of structure, mechan- 
ism, motive power and the thousand and 
one delicate parts that make a complete 
submarine are retained within the high 
confessional of naval officials and ranking 

But the United States, just as Germany 
has succeeded in doing, has got to obtain 
and train special seamen for submarine 
service. These sailors, up to the present 
writing, are obtained only by volunteer 
enlistment, and as they are recruited from 
the ranks of our citizens, they naturally 
show a healthy curiosity to become more 
familiar with the mysterious diving-boat. 
A modern submarine can submerge in 



less than three minutes. This has added 
immensely to their element of safety from 
attack. When water is pumped into their 
ballast-tanks in order to make the sub- 
marine submerge, the air which fills these 
tanks is compressed into a fraction of its 
former space, thus exerting a downward 
pressure, increasing as more water is 
pumped in. When the 

merge or rise to the surface in the awash 
condition, solely thru the use of the rud- 
ders. They act on the same principle as 
the ordinary rudder, except that con- 
trolling influence is upward and down- 
ward rather than from side to side. 

The average undersea boat does most 
of its traveling on the surface, both for 
economy of electric power and 
better naviga- 
tion and speed. 
On the now 
famous voy- 
age of the 
D eutschland 
fro m G e r- 
many to Xew 
Conn., last 
summer, h e r 
captain stated 
that she trav- 
eled in a sub- 
merged c o n- 
dition for only 
ninety miles 
out of a total 
distance of 
miles ; 








time is 
ripe for 
the subma- 
rine to come to 
X the surface again, it 

is only necessary to open its 
valves and allow the compressed air to 
force the water out. 

A submarine is kept submerged and 
travels under water thru the guidance of 
her horizontal rudders. She can sub- 


those ninety undersea miles in the 
English Channel were essential to 
her very existence. 

The principal offensive arm of all sub- 
marines is the torpedo (a little boat in 
itself, charged with high explosive), 
which is expelled by a charge of com- 
pressed air in the torpedo-tube fitted into 
the submarine's bow. All the latest pat- 
tern submersibles are also equipped with 
small-caliber, quick-firing guns for use 
when the submarines are in light 



condition. The guns can instantly dis- 
appear below decks when the "hornet of 
the seas" is ready to dive. 

Perhaps Motion Picture undersea 
drama, in its simulation of the mystery 
of the sea, has come very close to the 
truth, but if so the truth has been 
dreamed or conjectured. No government 
will allow a still camera or a Moying 
Picture camera beneath the decks of its 
invisible fighting craft. 

It is not generally known that the Uni- 

and on a certain dark night launched 
their submarine and started to tow her 
out of the little harbor of New Provi- 
dence. Immediately telegraph-wires and 
wireless stations got busy, and a fast 
patrol-boat was sent in chase of the 
''deadly" Universal submarine. In the 
gray of early dawn, just as they thought 
their escape was certain and were head- 
ing for the friendly Florida coast, the 
smoke of warships began to appear upon 
the horizon. The mighty leviathans of 


versal Company was almost put to its 
wits' end to obtain a submarine for their 
"Twenty Thousand Leagues under the 
Sea." As a last resort, the producers 
decided to build one — or something that 
closely resembled one. A Universal offi- 
cial, with a corps of carpenters and metal 
workers, picked out one of the most un- 
likely little islands in the Western Hemi- 
sphere in which to hatch his scheme. It 
was that detached little coral reef known 
as Nassau, a day's sailing from the coast 
of Florida. Unfortunately, they kept the 
secret of their submarine construction 
from the British provincial government, 

the Mistress of the Seas had become 
aroused by the mysterious little creature 
in their midst. Shortly afterwards the 
patrol-boat overhauled the Nautilus and, 
hooking a second tow-line to her, towed 
Universale first and only submarine back 
to New Providence, where she was 
"interned." To make an ending to this odd 
little bit of news, it is enough to say that 
in time the over-zealous Nassau officials 
investigated the Nautilus, found her to 
be a harmless creature, and sent her forth 
upon her Motion Picture career. 

The Yitagraph Company went about 
the taking of its pictures, "The Hero of 




Submarine K-2" and "Womanhood," 

more boldly and perhaps more intelli- 
gently. Their plea that the use of Gov- 
ernment submarines in dramatic Motion 
Pictures would be of great use for naval 
enlistment purposes was evidently lis- 
tened to. In the former picture not only 
were the grounds and buildings of the 
Naval Academy at Annapolis turned over 
to the Vitagraph Company, but several 
submarines of the' latest type were com- 
mandeered as film properties. Many 
graphic scenes were shown of submarines 
in light condition, awash, and in the act 
of submerging. But when it came to 
staging a scene in the interior of one of 
Uncle Sam's deep-sea monsters, there 
was absolutely nothing doing. It was a 
dramatic moment, indeed, when Charles 
Richman, as Commander Colton,U. S. N., 
was shot from the torpedo-tube of the 
submarine and was seen struggling to 
the surface. It is a pretty safe wager 
to make that said torpedo-tube was a 
"property" in Vitagraph's famous tank in 
Vitagraph's yard in Brooklyn. 

And now let us descend into the in- 
terior of a submarine, since the film 
companies have insisted upon doing so — 
scenically speaking. Most of us imagine 
the interior of a submarine resembles a 
dungeon — hot, stifling and in semi-dark- 
ness. This is exactly contrary to the 
truth. The temperature is only slightly 
above the normal of an ordinary war- 
ship's engine-room, the air supply is ex- 
cellent, and the whole interior is as well 
illuminated as the Great White Way. 
The crew can do plain or fancy cooking 
on odorless electric stoves, and trestled 
tables are erected for meals when capa- 
cious hammocks are not slung for sleep- 
ing. Most of the complicated machinery 
is tucked away in. the conical extremities 
or under the interior decking, or affixed 
to the steel sides. In other words, sub- 
marines are as neat and complete inside 
as human ingenuity can make them. Not 
so with some of the submarines in Mo- 
tion Picturesr They are either neat but 
not complete, or complete but not neat. 
The mass of machinery devised by tech- 
nical directors in some film submarines 
would outdo the busiest corner in an auto- 
mobile plant. This charge cannot alto- 
gether be brought against the American 

Company in its recent serial. "The Secret 
of the Submarine." Several excellent in- 
terior scenes were presented showing the 
lens and reflectors of the periscope in use, 
and one scene that I remember had a 
complete Diesel oil-engine installed and 
actually running in the picture. 

The answer to the dreadful question, 
"Who sank the Lusitajiia?" was the in- 
spiration for that most dramatic and 
most convincing amphibious super-fea- 
ture, "Civilization.'' Upon the judgment- 
book of man's inhumanity to man — his 
frightfulness — is writ, below the names 
"Nero," "Attila," "Catherine de Medici," 
the most despicable of all, "Lieutenant 
Otto Steinbrink." What was his earthly 
punishment? The Kaiser decorated him 
with the highest military honor, Pour le 
Meritc! It was he, or rather this un- 
utterable thing, whom Ince translated 
into his character of Count Ferdinand, as 
portrayed by Howard Hickman in "Civ- 
ilization." But in creating his film lieu- 
tenant, Mr. Ince's common sense and his 
American interpretation of fair play 
warned him that such a character as 
Lieutenant Steinbrink would not be tol- 
erated even in film. The story of "Civ- 
ilization" is now an open book. Ince 
idealized his chief character, so that at 
the crucial moment when his torpedo was 
about to be launched against the Litsitania 
his soul revolted and he refused to per- 
form the dastardly deed. It was then 
that his crew mutinied and sped the fatal 
missile upon the course that shocked the 
civilized world. 

How true Ince's depiction is of the 
interior of a German "U"-boat can be 
told only by a chosen few r in the German 
and Entente navies. From "Civiliza- 
tion's" opening night its audiences have 
been quite carried away by the rush and 
tremble and heart-flutter of its message. 
At its premiere in the Criterion Theater 
in New York Miss Ethel Barrymore, who 
sat in the boxes, was overcome and had 
to be assisted from the theater. This 
presentation was the supreme sublima- 
tion of the silent drama. One spoken 
word would have ruined it. But, after 
all, the mystery of the submarine has not 
been solved. Only those who come down 
to the sea from Zeebrugge and Cuxhaven 
can tell the real tale. 

Ode to Gail Kane as 
Molly OToole in 
"The Upper Crust' ' 


There's all kinds av bakin', yer 
appetite slakin', 
There's pies med with crusts an' 
But th' prisint confection must be 
yer selection, 
You'll eat it right up, without 
doubt ! 

She's an edible jewel, is Molly 
Wud ye taste her ? Just go to the 
show ! 
Whin wance ye have got her, she'l 
make yer mouth water — 
Ye must kill th' darlint, hurray 
and heigho ! 

Sure, she's fresh fr'm th' oven, all 
glowin' f'r lovin' ! 
Take wan taste, there's no stoppin' 
ye then ; 
Have ye seen her in bathin'? Th' 
swate little haythen ! 
It's sorry I am f'r all single men ! 

IN the first place, I want to say that I like Charlie 
Ray ! He's a "regular fellow" — a man's man, for 
all that half of feminine Young (and Old) America 
seems bent on adopting him and adding him to 
their collections of curios and monstrosities, la- 
beled "Matinee Idols." They wont capture Ray for 
that weird menagerie — not if I know hu nan nature ! 
And I believe I do ! 

I first met him down at the historic L. A. A. C. 
— in other words, the Los Angeles Athletic Asso- 
ciation — and I "cottoned" to him right at the start. 
It was good to meet a real 
human being w h o 
was also a movie 
actor — a ma n 
who can wear 
a "soup and 
fish" outfit 
and not look 
like a waiter 
— yet a man 
w h o isn't 
afraid of 
letting a 
fellow see 
that he is a 

I had known 
him for some 
months, and 
so, one day 
when we were 
out for a good 
game of golf, 
h e suggested, 
a t t h e finish, 
that I go home 
to dinner w i t h 
him. In a manner 
as casual as his in- 
vitation, I accepted 
His home is a com- 
fortable brown and 
white, vine-screened 




fern-decorated bungalow, with a peach of 
a garden (no pun intended) at the back 
of it. As we went up the steps I could 
readily see that "home" meant a good 
deal to him. In the interim between our 
arrival and the 
ment of 
w e 

the boughs laden with fruit. He brought 
out a huge basket and filled it easily in 
a few moments from the laden branches. 
After a marvelously well-cooked and 
served dinner, we sat in the comfortably 






played chess — i n 
which game I de- 
light, but I could 
see that only my 
host's fine, old-fashioned idea 
of courtesy to a guest allowed 

me to win the first game. 

Then, his notions of hos- ^iB 

pitality having been 

honored, he pro- -- - 

ceeded to ''set to" 6 *^ 

and politely efface , ;> " 

me from the map, in &* 

a manner of speaking. After which we 

rose to go for a stroll in the garden. He 

wanted to show me his peach-orchard, 

It was then 
that I learnt 
s mething 
about m y 
host that I 
had never 
known be- 
fore — his 
early suc- 
cesses and 
and so on. 
I 11 that 
quiet sense 
of well-be- 
^? ing that 

R^Sgl^S"^**** pervades the 

spirit of the well-fed 
; y male, over the curling rings 
of smoke from an excellent 
cigar he waxed more confidential 
than I had ever known him to be. He is 
almost boyishly shy and reserved con- 
cerning the subject of Chas. Ray — which, 
I must fain confess, is a rather refreshing 
trait to discover in a person so much in 



the public eye. But tonight the barriers 
were, in a manner of speaking, down. 

He told me of his early life in the little 
home-town of Jackson, Illinois. He was 
a splendid example of the average small- 
town boy — he guyed the new teacher, 
stole the gates on Hallowe'en and placed 
them on tops of barns, went coasting 
down-hill in winter, and went swimming 
in summer, in common with the average 

When he was just at the age to enjoy 
it most — meaning when he was about six- 
teen — his family moved to a small ranch 
in Arizona. Here he built up the strong, 
sturdy body which is so splendid an asset 
for his screen work. He learnt to ride, 
to rope and shoot — to live clean, think 
clean, and talk clean — in other words, to 
be the sort of fellow he is now. 

His stage experience — well, there 
couldn't have been a great deal of that, 
for he didn't speak of it. But a few years 
ago, when in Los Angeles, he met Thos. 
H. Ince, became imbued with an ambi- 
tion to enter pictures, and for three years 
worked hard, often choosing to play very 
small parts in pictures where the lead had 
been offered him, simply because the 
small part was a character part and gave 
him real work, while the lead was just, 
as he disdainfully called it, "looking 
pretty and kissing a girl." He worked 
hours over a "make-up" that was used 
for a few seconds only, in a part far back 
in a corner. He never complained, but 

was always keenly interested in every- 
thing he was asked to do. 

His first real work was ''The Coward." 
in which he co-starred with Frank 
Keenan. That picture marked ''twelve" 
in the life of the young player. Since 
then he has been starring and working 
hard to place himself in the first rank as 
a player — not as a "matinee idol." 

He doesn't receive a thousand letters 
a day ; he doesn't wear a purple bathrobe 
with socks, ties and ear-rings to match ; 
he doesn't need incense burned in his 
room while he is planning out a new 
character; he's just a simple, good- 
hearted, good-looking, likable lad — one 
who has more male friends than feminine 
..for the pure reason that the feminine sex, 
as a whole, doesn't interest him. Indi- 
vidually — well, that's another matter. His 
correspondence manages to consume a 
goodly portion of his spare time, but he 
shoulders the task grimly, if not joyously, 
and he painstakingly answers every letter 
he receives. And if he doesn't exactly 
weep tears of joy over the task, perhaps 
there are extenuating circumstances. 

Anyway, Chas. Ray, take him up and 
down, or across, is about as fine a chap 
as you would meet in a year's journey — 
simple of tastes, even-tempered, with no 
hint of conceit; in other words, just a 
real, honest-to-goodness mails man! 
Which is about the highest praise one 
who has trailed many an actor — and 
actorine — to his lair can offer. 


Quite fickle is the heart of man who visits Motion Pictures ; 
His homage and his loyalty are not abiding fixtures. 
He loves a maid upon the screen; within his heart he sets her, 
Until another comes along, and then he soon forgets her ! 
Now, with me it's different, quite, because I love one only; 
She's charming, is this love of mine — but "charming" is a sick word 

To fully voice the attributes of winsome ! 

'Tis her I love ! but there is one — believe me when I talk — her 

Dimples have bewitched me, quite, the ones of ! 

Ah! she's the girl — but, oh! those eyes of which I've often sung; 

The glorious orbs which light the face of ! 

Of all the girls — and there is one who's pure as snow in winter — 

She has my heart all torn to rags, has childish ! 

I love but her ; but come to think there's one I cant recall, 

"Who's won my heart — what is her name ? Oh, shucks ! I love 'em all ! 


(Continued from August issue) 

When the fashion oracles 
in Paris decree the 
latest styles, the stars of 
Screenland lose no time in 
adapting the newest modes to 
their own individual require- 
ments. Next, almost overnight, 
they are flashed upon the screen 
for all who will to admire and 
copy ; and the little village belle 
as well as the society queens of 
the big cities may have the latest 
things in clothes. 

And it is not wholly to enhance their 
attractiveness, nor is it due to vanity, 
that the screen stars adopt this policy of 
watchful waiting for the newest thing in 
clothes. Beautiful gowns, picturesque and 
becoming hats, smart footwear and modish 
wraps are part of their stock-in-trade 

That this adornment is costly, any 
well-dressed woman of the screen can 
testify. "Well, they get big salaries, 
and they can afford it !" we hear. 
Which is perfectly true. That is, many 
of them get large salaries. But, as a 
rule, the larger the salaries, the more 
expenditure is required for clothes. 
Contrary to popular belief, the 
producing companies do not fur- 
nish costumes. Xot a bit of it! 
That's what they pay the stars big sal- 
aries for ! There are a few exceptions. 
If a picture requires a medieval setting 
with medieval costumes — something that 
can be worn at no other time or place — 
the company will have them made. Oth- 
erwise, the planning, buying, the super- 
intending of all the troublesome detail of 
making are done by the much-envied star. 
In addition to a secretary, she must have 
a maid who is skilled in needlework — 



unless My Lady Star is the fortunate 
possessor of a worth-her-weight-in-gold 
combination maid and secretary. 

Contrary to another popular belief, any 
kind of material and any kind of putting" 
together will not do for the screen either 
— the material for an elaborate gown 
must be of the best and the making must 
be as carefully done as tho the fair owner 
were about to take part in an Easter 
parade. In the feature pictures the star 
must have at least twenty changes of 
gowns, hats, wraps and shoes. It is 
necessary to keep each change carefully 
tabulated and pinned in a conspicuous 
place, else the star of the serial might be 
seen wearing the same gown twice. 

The movie people are always glad for 
spring and summer, because it means not 
only long, happy days of outdoor work- 
days, but a letting up on elaborate wear- 
ing apparel. 


Women, especially, seem 
to instinctively dress in har- 
mony with nature. They 
want to fit in with the back- 
ground of birds, trees, flowers and float- 
ing clouds. Never have the summer 
things been so adorable and never did 
our movie friends indulge their tastes 
and desires to such an extent as in the 
summer that is passing. " Sport clothes 
dont cost so much either," they exclaim ; 
"and they are so refreshingly simple and 
comfortable !" 

Refreshing seems to express it. 




Louise Glaum is the skipper of her 
own trim little sea-going craft. Her 
white flannel yachting-suit, with cuffs 
and collar, buttons and but- 
tonhole edging of black J" 9 V^ 
moire silk ; Yale blue-and- 


white striped tussah silk blouse ; black 
moire silk four-in-hand tie, forms a chic 
combination ; stitched white canvas hat, 
yard-square white crepe chiffon veil, 
white silk hosiery and black leather 


colonial pumps are dainty and 
effective accessories that give an 
added charm to this very nautical 

Franklyn Farnum and Agnes Vernon 
are ultra smart on the golf-links in this 
Bluebird scene from "The Clock." 

Miss "Brownie" Vernon, as she is 
popularly known, is an Oregonian, and 
in her state found ample elbow-room in 
the great, wide, wild, western spaces to 
swing her brassie and drive a golf-ball 
straight as the crow flies in record-break- 
ing, Col. Bogey score-smashing scores. 

She presents a stunning appearance on 
the putting-green in a reseda stripe linen 
blazer and becoming panama sailor hat, 
with Roman stripe, gros-grain ribbon. 



Alma Reuben, Triangle- 
Ince popular player, is 
fittingly attired for her 
favorite game, golf, 
in this dazzling 
black - and - white - 
checked suit ; her 
ypnotic eyes are 
shaded by a 
fuzzv, reseda- 
hat. Miss 
Reuben is a 



in a 

decided brunette 
type and has been pro- 
nounced by artists to have 
<-"- -, a perfect profile. 

She shared honors with 
u " William Hart in "Truthful 
Tulliver" ; appeared with Douglas 
Fairbanks in "The Americano," and 
with Charles Gerard in "A Woman's 

She was born in the Golden Gate 

City in 1897, and when in her early 

'teens went from the Convent of the 

Sacred Heart for her first venture 

Vitagraph picture. 



Helen Holmes paddles her own canoe, 
dressed in a white "tub" suit, middy 
blouse, sailor collar and narrow-band 
cuffs of marine blue, finished in three 
rows of narrow white braiding; hair 
plaited in braids characteristic of the 

the ripples curl, in many a dangerous 
pool awhirl !" 

Marjorie Rambeau is a bright example 
of "watchful waiting." Her modish skirt 
of beige-colored "La Jerz" silk sport 
cloth ; smart little white felt hat ; pussy- 


w 1 1 1 o w taffeta shirt- 
waist of foliage green- 
and-white stripe, with 
>port sleeves, make a 
playtime outfit that is 
:ool, comfy and alto- 
f gether fetching. 

Marjorie Rambeau made 
her screen debut playing 
opposite Aubrey Beattie in 
"The Greater Woman," a 
( Mutual - Powell ) pictur- 
ization of Algernon 
Boyesen's drama. She 
co-starred with Robert 
Elliott in "The Debt," 
p^**~\ and appeared with Paul 
Everton in "The Mirror." 
picturesque Indian maidens' style. Haz- The snow-scenes in "Mary Moreland" 
ardous Helen is dee-lighted. "And, oh! (from Marie Van Yorst's book), starring 
the river runs swifter now; the eddies Marjorie Rambeau and Robert Elliott, 
circle about my bow. Swirl, swirl! how were made in the Catskill Mountains. 





making a 

Wilson, snapped just after 

good catch. Her jolly little 

of heavy cream shantung 

has a wide, hem- 
stitched collar and 
tie of same, the flow- 
ing ends carelessly 
knotted in sailor fash- 
ion. The queer little 
graceful apron panel 
produces a decidedly 
uncommon effect. 

After seeing her work opposite 
William S. Hart in 'The Desert 
Man" and "Wolf Lowry," one realizes 
that clothes dont make the actress — the 
actress makes the clothes. 

Marjorie Rambeau, homeward bound, 
with a happy smile on her face, listens to 
the song her paddle sings : "August is 
laughing across the sky, laughing while 
paddle, canoe and I drift, drift, where 
the hills uplift, on either side of the cur- 
rent swift. And up on the hills, against 
the sky, a fir-tree, rocking its lul- 
*<£v. laby, swings, swings its emerald 
wings, swelling the song that my 
paddle sings." (From "The 
White Wampum.") 
Marjorie Rambeau (in private 
ife Mrs. Willard Mack) had a 
great deal of travel and experi- 
ence in her youth. When a little 
girl she traveled to Alaska with 
her widowed mother, an actress 
who organized a stock company 
in the Land of the Midnight Sun. 
When Mrs. Rambeau returned 
to Southern California, little 


Marjorie was engaged by Mr. Morosco 
as ingenue in his Los Angeles stock com- 
pany, where she made a great sensation. 



Billie Rhodes, the wonderful little Mu- 
tual comedienne, not only rides, swims 
and dances well, but always knows the 
proper thing to wear at the proper time, 
and how to wear it. 

Billie Rhodes will be featured in a 
series of fifty-two one-reel comedies to 
be released thru Mutual, under the gen- 
eral title of Strand comedies. The first 
three releases of these comedies will be 
"Her Hero," "When Mary Took the 
Count," and "In Walked Uncle." 


-."..-*.'■ ~r :.".". ' " ■ - - - - 



That happy little member of % 
the Bluebird flock, Myrtle Gonzalez, is 
very smartly costumed for motoring; 
with her extra tire and expectant smile, 
she is ready and waiting for whatever 
is coming. She is equally skillful at 
motoring, golf and swimming, and says 
that outdoor sports have caused her to 
cancel all her life-insurance policies. 

Miss Gonzalez co-starred with Val 
Paul in "Mutiny" and with George Her- 
nandez in "Southern Justice." 

This constellation of flickering film 
stars, expert in whatever they do, give 
authoritative expression to the last silent 
word in the trend of fashions for the 
lovers of outdoor sports and of the 


What the National Board of Review Stands For 

(Formerly the National Board of Censorship) 

To the Editor — The public has so little accurate information about the National 
Board of Review of Motion Pictures, whose activities include the review of practically 
99% of ail photoplays exhibited in the United States, that it would be greatly appre- 
ciated if you could publish the following or any part of it. 

Yours truly, 

National Board of Review of Motion Pictures. 

«« ^comparatively few persons attending 
^^ Motion Picture exhibitions know 
that Motion Pictures are edited just 
as newspapers are edited. When they pick 
up their paper in the morning they do not 
realize, that it represents the work of an 
intelligent group of men and women seek- 
ing to provide them with what could be 
of most interest and value, and eliminate 
that which is not according to their taste. 
What appears in the newspaper is that 
which will interest the public and what 
public opinion calls for. 

"So it is with Motion Pictures. The 
editor is a body of volunteers living in 
New York and the neighborhood. It is 
the National Board Of Review. of Motion 
Pictures. This organization, formed in 
1909, at the request of the Motion Pic- 
ture exhibitors in New York, reviews, in 
the capacity of editor for the public, up- 
wards of 10,000 reels of Motion Pictures 
in the course of a year. This represents 
approximately 88% of the total output of 
photoplays in this country. It is con- 
stituted : exclusively of unpaid workers, 
.including a General Committee of 35 
members, self-perpetuating, from which 
is selected an Executive Committee of 9. 
These in turn select and elect members 
of the Review Committee, in 1916 num- 
bering 190. 

'This committee is divided, for effi- 
ciency, into sections, which attend from 
25 to 30 review meetings a week. In 
1916, members of this committee at- 
tended 1,186 meetings and reviewed 
9,550 reels of film. They paid their car- 
fare, cab-hire and often their restaurant 
checks, all because they believed in keep- 
ing this great public amusement in tune 
with public opinion. The General Com- 
mittee acts as a court of appeal for pic- 
tures which may be held for further con- 
sideration by any section of the Review 
Committee, or which are appealed by the 
producer from the decision of the original 
reviewers. All decisions on pictures are 
made bv volunteers in no wav connected 


with the Motion Picture industry, the 
Executive Staff of Secretaries being con- 
fined to the clerical work. 
. "How does it come about that the 
producers exhibit their pictures to a 
volunteer body for review and editing 
before they are presented to the public? 

"This relationship between' producers 
and the volunteer group began in 1909 
when the Motion Picture exhibitors of 
New York City— poor men, who had been 
unjustly treated by Mayor . McClellan — : 
appealed to Charles Sprague Smith, Di- 
rector of the People's Institute, ■ to 
form a volunteer disinterested and stable 
board drawn from persons associated 
with social organizations, in order to re- 
habilitate themselves. Mayor McClellan 
ordered every picture house in the city 
closed, despite the findings of two care- 
fully conducted investigations of the Mo- 
tion Picture conditions made in' 1907 and' 
1908 — one by a joint committee of the 
Woman's Municipal League and .the Peo- 
ple's Institute, covering nine months ; the 
other by General Bingham, then- Police 
Commissioner — both . of which f showed 
that, in spite of some defects in subjects 
and treatment, the large majority of films 
were wholesome. 

"The Motion Picture exhibitors, whose 
business had been seriously damaged in 
this way, welcomed the response of Prof. 
Smith, which took the form of the Na- 
tional Board. The manufacturers then 
recognized the assistance given by this 
public-spirited group, and agreed to sub- 
mit all their product for pre-publicity 
criticism. Since that year the National 
Board has daily inspected and passed 
upon films, until it now reviews on an 
average of 10,000 reels, or 10,000.000 feet 
of film a year, which are copied from 
twenty to one hundred and fifty times 
for circulation in all parts of the United 

'Tn the course of the year 1916 the 
number of feet of film eliminated, includ- 
ing the pictures condemned in toto, was 


46,990, representing a cost to manufac- 
turers of $70,485. The sales value to 
manufacturers of the film thus kept off 
the American market was $156,465. 

"The Board does not review pictures 
for any particular audience, but tries to 
judge as' to the real effect of each film 
on the composite audiences which will 
see it. It does not regard itself as a 
censor of taste, unless it is clear that the 
question of taste is an essentially moral 
one, for tastes differ in different parts of 
the country. Nor does it regard itself 
as a censor of accuracy, unless the inac- 
curacy in question is of a libelous kind, 
or will result in some concrete disaster 
to the person whom it misleads. It does 
not review Motion Pictures from the 
standpoint of protecting the exhibitor or 
manufacturer from the consequences of 
producing a film which may alienate some 
powerful element in the community. Nor 
does it assume responsibility for posters, 
handbills, or other advertising which may 
be given out concerning Motion Pictures. 
On the other hand, it does all that it can 
to stimulate the use of fine pictures, of 
artistic worth and joy-producing quali- 
ties. From those which these committees 
see are selected and listed the films which 
are considered to be particularly clean 
and fine for exhibition. 

"In 1916 its activities were marked by 
the formation and the active work of the 
National Committee for Better Films. 
This organization, associated with the 
National Board, is charged with the re- 
sponsibility for the development of the 
use of better Motion Pictures both for the 
family and for young people. It has 
found so many local and isolated com- 
mittees attempting better film entertain- 
ments that the Affiliated Committees for 
Better Films has been organized to unite 
them for greater efficiency. This loose 
organization is on the basis of local au- 

tonomy and initiative, mutual service and 
efficiency. Monthly bulletins are issued 
to these committees, giving ideas, meth- 
ods, lists and suggestions. It appears to 
be a simple and effective method for ob- 
taining results desired by many localities. 

"The National Board represents so 
thoroly public opinion, thru its many con- 
nections in every part of the country, and 
provides such a fine piece of machinery 
for the editing of Motion Pictures, that 
many cities thruout the country rely upon 
its bulletins and reports for the regula- 
tion of Motion Picture exhibitions. 
Among these cities are Boston, Mass. ; 
Providence, R. I. : Syracuse, N. Y. ; 
Bridgeport, Conn. ; Rochester, N. Y. ; 
Milwaukee, "Wis. ; Denver, Col. ; Atlanta, 
Ga. ; Asheville, N. C. ; Nashville, Tenn. ; 
Spokane, Wash. ; Detroit, Salt Lake City, 
San Francisco, and many others. 

"Among those on the General Commit- 
tee are : Roland Haynes, of the Commit- 
tee on Recreation of the Board of Esti- 
mate and Apportionment ; Ralph Folks. 
Commissioner of Public Works ; Dr. 
Frank Oliver Hall, Church of the Divine 
Paternity ; Henry E. Jenkins, Dist. Supt. 
of Schools ; P. F. Jerome, Business Bu- 
reau of the International Committee of 
Y. M. C. A.'s: Burdette G. Lewis, Com- 
missioner of Correction, New York City : 
Orlando F. Lewis, General Secretary of 
Prison Association of New York ; Dr. 
Chas. S. Macfarland, General Secretary 
Federal Council of Churches of Christ in 
America ; W. Frank Persons, Director of 
the Charity Organization Society ; and 
Edward F. Sanderson, Director of The 
People's Institute. On the National Ad- 
visory Committee are : S. Parkes Cad- 
man, Brooklyn, N. Y. ; Shailer Mathews, 
Chicago, 111. ; Felix Adler, Robert E. Ely, 
Prof. Franklin H. Giddings, Bishop 
David H. Greer, Jacob H. Schiff, and 
Oscar S. Straus, of New York City." 

To a Movie Rose 

"Full many a flower was born to blush unseen," 

The poet wrote; such then was p'raps the case, 
And many a beauteous maiden in those days, I ween, 

In some secluded village hid her face. 
"Full many a rose was born to blush unseen" 

Is rendered null and void by Progress' pace; 
These days each budding beauty seeks the Screen, 

And, un-blushingly, to thousands shows her face. 



Shooting the Shoots at George Ovey 

An Echo of the Studio Baseball Season 


What do Motion Picture play 
ers do to occupy their 
time in the interim be- 
tween scenes?" is a question 
often asked of picture people 
by laymen. Taking players 
as a group, the question is 
difficult to answer ; but 
taking them individually, 
one will find an interest- 
ing assortment of diver- 
sified interests. 
r — _^ For instance, 

indulges in the game of "throwing 
Lately his ball-playing ten- 
dencies have had a decided stim- 
ulus. The cause is Jack Ryan, 
famous Pacific Coast League 
pitcher and the mainstay of 
the Los Angeles Club's 
pitching start. With 
such a personage 
"on the lot'' it is no 
wonder that Ovey 


the star in 

David Hors- 

ley's Cub 


finds baseball 

a pleasurable 

form to occupy 

his spare moments 

during the course of 

making of a picture. 

pany goes on a journey to a "location" 

to make exterior scenes, Ovey frequently 

throws ball and gloves into the car for 

later use ; if the company is engaged 

within the studio walls/ Ovev often 


If the Cub Com- 


up baseball 
with renewed 
vim, and that 
nearly every 
should be 
used partly 
for ball- 
playing pur- 
poses. Ryan is known as 
the originator of the "nail" ball. He 
grasps the ball between the nails of his 
first and second fingers and the thumb 
and throws it with an overhand motion. 
The ball sails slowly thru the air with- 
out revolving, so that the stitches can be 



readily seen. As it nears the batter it 
describes a sort of a weave, turning first 
inward, then outward. Ovey soon learnt 
the effects of this 
throw thru several 

damaged digits, 
i and then set 
j o u t t o 


blood never to be boiled out. 
Under his able manage- 
ment the "Cubs" have 
administered sound 
lickings to all the 
other studio nines 
that have 


much as it 

took Ryan 

four years 

t o master 

the curve 

so that he 
could throw 
it accurately, one 
can imagine what a 
the Cub comedian 

Incidentally, it may 
be news to man y 
of his admirers that 
Ovey shows consid- 
erable efficiency as 
player. In his 
days, the dia 
called pretty 
him as a means 
hood, he says, 
had a more volu 
and he heark 
ter calling". Con 
sition he has 
move was the 
baseball is in 


ways warms 
when the war 
the wounded, 
to play base 
pose — funds 

ot. The ; 
recent big 1 
tween the 
and the 
" Tragics," 
played as a 
Red Cross 
benefit, and in which 
Charlie Chaplin matched 
his hurling wing against 
Herbert Rawlinson, 
w a s the e n'vy of 
George Ovey — not 
the brand of base- 
ball displayed, but 
the fact that he 
"pulkcf" the bi g 
George says he 
"do his bit," tho, 
ieve him. 
geles' heart al- 
to charity, and 
takes its toll of 
George is going 
ball with a pur- 
for thebovsinblue. 

"T^vont try to save on expense — if you 
L/ make it show in the picture!" is 
a stock motto in all well-estab- 
lished studios. 

» Not that Motion Picture producers en- 
joy spending their profits any more than 
you and I do, but rather they know that 
surplus profits are enhanced because of 
your and my surplus appreciation of the 
lavish production. 

A few years ago, an author's manu- 
script was frequently rejected because of 
the unwarranted expense foreseen in its 
production. Today, William A. Brady 
informs the author that he cannot use any 
manuscript that does not call for a lavish 
production thruout ! 

"Dress your stars up! Give them a 
party, a ball, a reception ! If they must 
begin in rags, cut it short, and see to it 
that they wind up in riches ! We have 
magnificent country estates, city palaces, 
steam yachts and special trains just spoil- 
ing to be used — use your imagination and 
our pocket-books !" So, all along the line, 
a supreme effort is made to dazzle the 
audience into a state of dizziness. 

There is another very effective influ- 
ence behind the screen luxury ; that is, 
the treasure of jewels, fine clothes and 
costly automobiles that every well-known 
actor or actress is reputed to possess. 
Why have them, if they cant be displayed 
in a proper setting? 

So the picture plays of today are being 
fashioned according to a pattern of lux- 
ury that is largely missing in our own 
lives. Thank heaven, we can associate 
with it in the pictures ! 

It is doubtful if Mr. and Mrs. Public 
stop to think how great is the producing 
cost of a luxury that costs so little for 
them to consume. 

Strangely enough, the play itself — that 


upon which such expense is lavished, that 
over which a small army of well-paid 
mechanics and fabulous-salaried artists 
sweat and worry for a month or so, and 
that which millions of people enjoy to a 
more or less extent — is the smallest item 
of expense. Say $100 to $500. Our Au- 
thor spends anywhere from two weeks to 
two months on his idea, making a play out 
of it. He wears his heart sore waiting 
about three months to a year for his play 
to be sold and is lucky if his sales average 
two plays out of five written. 

Let us forget the Author and his trou- 
bles and pass right along to the next ex- 
hibit, the Editor. Here we will find a 
man with more troubles than the author 
ever dreamed of. The editor is not 
alone in his misery. He usually has sev- 
eral assistants who take the chestnuts out 
of the fire — and send them back to 
the expectant authors. Editorial offices 
receive anywhere from ten to a couple of 
hundred of manuscripts daily. Many of 
them are illegible, the majority of them 
a thousand miles from being a photoplay 
idea, ten per cent, may be worth looking 
beyond the first page, and one in a hun- 
dred is worthy of the editor's perusal. 

Fifty 'per cent, of the manuscripts 
handed to the editor are rejected by him ; 
the other fifty per cent, he probably 
brings before a conference that again 
throws out more than half of the afore- 
said candidates. In o:*her words, less 
than one-quarter of one per cent, of all 
the material received from outside 
sources is available. Dont let any pros- 
pective writer take too much courage 
from this estimate, because I fear it is 
'way high. But our point is, that any- 
where from 400 to 1.000 manuscripts 
have to be "combed'' before a flea is put 
in the producer's ear. And, as we shall 



see, the producer's troubles multiply as 
the plot thickens. 

The author has received his check, 
thank goodness ! But no sooner has a man- 
uscript been purchased than the director 
begins to worry. There are certain radi- 
cal "changes" that must be made in the 
manuscript. The Continuity Man is 
called in conference and the conspiracy 
is thereupon hatched for "making such 
changes as the policies of the present 
company warrants."- Frequently the 
Continuity 'Man will labor several weeks 
in thus- making the "continuity," or work- 
ing script. He is frequently so brilliant 
that he has builded a play of his own. If 
he r doesn't succeed in "losing the author," 
the director may manage to do so — after 
all of that laborious search for the needle 
in the haystack of manuscript, which is 
again lost and turns up again in the or- 
chestra seat of the author when he wit- 
nesses a photoplay said to be from his 
typewriter ! The shock is sharp and pen- 
etrating, and as he removes the needle 
he finds in it the thread of his story — 

Now we begin to spend regular money ! 
Directors get anvwhere from $200 to 
$1,000 a week. David Wark Griffith's 
salary exceeded $1 10.000 a year. Camera- 
men average about $100 a week. Actors 
—you know as well as I do that the in- 
comes of railroad, bank and United 
States Presidents are a mere bag of shells 
beside the salaries of some well-known 
players. Charlie Chaplin and Mary Pick- 
ford pull down nearly $2,000 every week- 
day. That does not mean working, days, 
or rainy days, or getting-ready days, as 
you will see. 

While all Stars are not in Mary's and 
Charlie's class — speaking of salary now — 
one is not far afield in setting an average 
of something like $400 a week per star 
in the brilliant heaven of the screen. 

In connection with our five-reel Mov- 
ing Picture we multiply all weekly quota- 
tions by four, as it takes about four 
weeks for each process. 

We have just mentioned the star to get 
the pitch of our actor composition. There 
are never less than four principals, usu- 
ally about ten minor characters (such as 
waiters, policemen, passers-by, etc.) and 
one or two "big scenes" with anywhere 

from fifty to five hundred in the "Mob." 
An ordinary face and figure for the "mob" 
will net its owner about $3 per day. A 
good "character" type, cripple or mon- 
strosity, is good for $5. We are not men- 
tioning the Artists who "support" the 
lead — they never tell how much they get, 
but we imagine that they would starve 
rather than exert their art for less than 
fifty per. 

Now we are all ready to produce, and 
where one or two worried and fretted be- 
fore, there are now a hundred people 
hanging around apprehensively. For 
there is more hanging around to the 
square inch in a Moving Picture studio 
than anywhere else in the world. 

The working manuscript is ready. All 
the "mob," and the low-priced talent who 
are paid only whem they actually .do a 
day's work, are assembled. Much time is 
taken "making up." More time passes 
waiting :.f or the star, -who at length tele- 
phones that she is indisposed — in truth, 
she shone- too radiantly the night before 
and has. a pimple this morning. Now the 
director must skip over his scenes to 
Scene 172, in which the star does not ap- 
pear. It happens to be an exterior, or 
outside scene. They are about to start 
out in the several waiting automobiles 
when it starts to rain ! The director 
is impolite to the weather. He now di- 
cides to do Scene 93, interior. He looks 
about for the "spacious drawing-room of 
Louis Ouinze period" and fails to find it. 
The director sends his assistant to the 
Stage-manager and asks what has be- 
come of the spacious drawing-room. The 
stage-manager appears and brings an 
order in the director's own handwriting 
requesting that the Louis Ouinze set be 
in position on Stage 16 not later than 
"next Wednesday." Such loud words 
follow that the fat comedian who has 
been placidly snoring in the "oiectric 
chair" in "23" is cruelly awakened after 
an hour's nap. It is time for lunch ! 

The above is not a daily tragi-comedy 
of costs, but any one who is familiar with 
a "busy" studio has seen its counterpart 
more often than they can remember. 

There are few directors who aver- 
age more than ten scenes a day — there 
are approximately 200 scenes to a five- 
reel picture. There is little doubt but that 



directors could increase their output, but 
there seems to be no perfect system of 
co-ordination in the majority of studios 
up to the present writing. Waiting is 
more tiresome than working, and hard- 
working actors spend about one-third of 
their time while employed in hard 
For instance, the majority of the scenes 

others have been known to play two 
cameras on the action at the same time. 

The point here is, that while the audi- 
ence eventually sees one mile of film, the 
company's books will show a charge for 
anywhere from two to five miles of 
coated celluloid. The surplus is waste 
of time, nervous force and materials. 
This costly canned energy all goes into 


going up! even norma talmadge is "up a tree" in "the 
law of compensation" (selznick) 

are taken twice at least. Each di- 
rector or camera-man has his own 
method. Some take a scene indoors and 
have it developed immediately, in order 
that any minor defects of exposure, ex- 
pression or action may be corrected while 
the cast is in the mood. Other directors 
re-photograph a scene at once, in order 
to insure the perfection of a scene. Still 

the scrap-heap that has no by-products, 
except the nitrate of silver extracted from 
the film stock. 

From first to last, consciously or sub- 
consciously, the one thought of the vast 
army that makes up the producers of the 
Moving Picture play is You, the Audi- 
ence of the World. 

But a feverish fortnight follows the 



actual photographing of the dramatic ac- 
tion. The aforesaid action is garbled in 
an infinite number of strips of film. An 
important personage now steps to the 
fore whose magic touch — of nearly a 
week's duration — will assemble those 
fragments in a coherent sequence that 
may possibly resemble the original story- 
idea in the mind of the author. This 
wizard is the Maker of Titles. Not only 
does the title-maker put the action in the 
proper sequence, but she — or he — cre- 
ates most of the reading-matter that ap- 
pears on the screen and puts the punch 
in much action that would stagger along 
drunkenly without it. We know two pro- 
ducing companies that are paying their 
makers of titles considerably in excess of 
$100 weekly. They come high, but we 
must have them. 

Let us concede that we now have five 
strips — or reels — of film measuring 1,000 
feet each. Altho waste has now been 
reduced to a minimum, your play is not 
upstairs in the projecting-room of your 
favorite theater — not by a jugful. 

We have only our single copy, or nega- 
tive. We have got to have enough copies, 
or positive prints, of the film story to sup- 
ply the world market ! This may mean 
only a few copies — of a super-feature 
like "Intolerance"; or more than a hun- 

dred — of a Charlie Chaplin scream. 
When a print is all ready for the mar- 
ket we do not mean that it is either sold 
or has made a profit for its makers. The- 
aters do not get films from the producers, 
but from exchanges to which producers 
must first dispose of them. Subsequent 
returns depend upon rentals. 

In the Exchange and State's Rights de- 
partments we come upon a vast net-work 
of commercial activities which employ 
hundreds of big-caliber men with 75-cen- 
timeter salaries, with thousands of capa- 
ble, well-paid employees under them. 

We need not go into detail about the 
palatial theaters that open their doors to 
you at a fraction of the price you pay 
for stage versions of perhaps the same 

We have given you some idea of the 
cost of giving you a stupendous enter- 
tainment, the smallest of which is on a 
scale with the greatest stage productions. 
You can see for yourself that it must be 
never less than many thousands and you 
pay a few cents to see it. 

What is the Motion Picture worth? As 
well ask how much air, or laughter, or 
life itself is worth? All are priceless. 
We can only begin to measure their value 
when we are denied them — which, God 
willing, may never be ! 

What Have You Seen on the Screen? 

By R. H. DYER 
hat have you seen on the screen, my 
friend ? 
What have you seen on the screen? 
Nothing. I vow, that did offend; 
Nothing that served an evil end, 
Or motive low and mean. 

What have you viewed with eyes 
aglow ? 

What feature worked the thrill? 
Was it a story of hellish woe — 
A tale obscene and rotten? No! 

Such themes corrupt are nil. 

You have seen the giant Virtue smite 

The demon to his fall ; 
You have seen the accursed Shades of 

Succumb to the pressure of Moral Light — 

And you haven't seen it all. 

You have witnessed the battle of Right 
and Wrong, 

And cheered for the victor crowned; 
Your stagnant blood has leaped along, 
Your heart has broken into song 

With one ecstatic bound. 

This have you seen on the screen, my 

And this have you felt before; 
This is the high and noble end 
The pictures favor and defend — 

Now and f orevermore ! 

Jack and the Beanstalk 


Editorial Note — "Jack and the Beanstalk" is an English fireside tale that has 
been told around the world — in the huts of African Zulus and under the tepees 
of Indians. Nor was the tale repeated from the lips of a white man; it seemed 
to originate at the world's end. Jack's adventure is a simple and marvelous tale 
that appeals to childhood, and to the "second childhood" latent in all of us. 'Tis the 
same feeling translated into action that makes the "stern" parent insist on escort- 
ing his little boy to the circus. The equally marvelous appeal of Motion Pictures 
has added a new zest to the tale, and the opportunity for story illustration is unequaled. 
"Jack" was first illustrated on slate-rock and the trunks of trees; thereafter by the crude 
wood-cuts of German foresters, but the breathing images of the real characters remained 
for the modern camera-man. 


nce upon a time a poor widow 
lived in a little cottage with 
her only son, Jack. Jack was 
a giddy, thoughtless boy, but kind- 
hearted and very fond of his mother. It 
had been a hard winter, Jack did no work 
as yet, and they were dreadfully poor. 
The widow saw that there was no way of 
keeping Jack and herself from starvation 
but by selling her cow ; so one morning 
she said to her son. "Tack, you must take 

the cow to the market and sell her for 

"All right, mother,'' said Jack. ''Trust 
me to make a good bargain." And away 
he went toward the market. He was a 
little sad at first because his mother was 
sad, but soon recovered his spirits and 
went whistling along until he met a 

"\\ nere 

are you gomi 

said the 




"To market, to sell the cow," said Jack. 

"It's lucky I met you," said the butcher. 
"You may' save yourself the trouble of 
going so far." 

With this he put his hand in his 
pocket and pulled out five curious beans. 
''Here," he said, "are the most wonderful 
beans that ever were known. If you plant 
^m-^-— • them overnight, by the 
next morning they'll grow 
up and reach the sky — and 
I'll exchange them for that cow of 

And as Jack hesitated, a fairy 
softly whispered in his ear, "Take 
them," so Jack cried "Done !" and 
ran all the way home to tell his 
mother how lucky he was. But 
when he showed her the beans, 
instead of the money she ex- 
pected for the cow, she was 
vexed and shed many tears. 
Jack was very sorry and they 
went sadly to bed ; but, first, 
Jack went out into the garden, 
took a piece of stick, made a 
hole and put in the beans. 
"Mother says they are just 
common scarlet- 
runners, and 
nothing else, 
but I may as 
well so w . 
the m," he 

said. At 



of day, Jack was up and looking down 
into the garden, What was his surprise 
to find that the beans had come up in 
the night and seemed to cover the cot- 
tage ! He called his mother ; they went 
to the garden and gazed in silent wonder 
at the beanstalk, that had climbed up and 
up until it covered the high cliff that 
sheltered the cottage, and disappeared 
above it. The stalks had twined and 
intertwined until they formed a ladder. 

"I think I will climb up and see where 
it ends," said Jack to his mother. 

His mother did not want him to em- 
bark on this strange adventure. But Jack 
was sure there must be something won- 
derful for him at the end of the beanstalk, 
so she yielded to his wishes. 

Jack began to climb and went up and 
up the stalk until everything he 
had left behind him — the cottage, 
the village, even 
the tall 

church-spire — looked very small, and even 
then he could not see the end of the bean- 
stalk. But Jack was a persevering boy, 
and he knew that the way to succeed is 
not to give up, so he climbed higher and 
higher until he was afraid to look down 
for fear he should be giddy. 

At last he reached the top of the bean- 
stalk and found himself in a beautiful 
country, finely wooded, with beautiful 
meadows covered with sheep, a crystal 
stream /running thru the pastures, and 
not far away stood a strong, fine castle. 
A beautiful princess was looking from a 
window. • When she saw him she opened 
the long window, stepped out and came 
quickly to him. 

.'T have waited a long time for. you," 

she said. She wore a long robe of blue 

satin, wonderfully beaded and spangled, 

and her bright golden hair waved softly 

about her lovely, childlike face. 

Jack took off his cap and bowed low. 
"If you please," he said, "are you 
a real princess, and do you live 
in that beautiful castle ?"~ 
"Hush!" she said. ''Let us 
ro to the castle tower and 
tell you a story. 




"Once upon a time," she began, "a 
noble knight lived in this castle, which is 
on the borders of fairyland. He had a 
fair wife and several children. His neigh- 
bors, the little people, were friendly to- 
ward him and bestowed upon him many 
precious gifts. A monstrous giant 
who lived nearby and 
who w a s 

She was eager to go back and share their 
fate, but the nurse besought her to re- 
member her living child and to save her 
life and his. 

"She finally consented to go with the 
nurse, who had a little home in the 
valley, and remain there as her 
best place of refuge 
from the siant. 
After a year 
the old 

being, heard of these treasures 
and determined to obtain pos- 
session of them. He bribed a false serv- 
ant to let him inside the castle one day 
when the knight was asleep, and killed 
him as he lay. Then he went to the 
nursery, killed all the little ones, and took 
possession of the castle. 

"The mother, with her little son, had 
gone to the valley below. On her way 
home she was met by the frightened nurse 
(who had escaped the giant) and was 
told of the fate of her husband and babes. 

died, leaving her cottage, 
furniture, spinning-wheel 
and cow to her former mis- 
tress. There was a garden in which they 
raised peas, beans and cabbages, and with 
these and the milk from the cow they 
managed to subsist. The mother did not 
tell her son of their former life, as she did 
not wish to sadden him by the contrast. 

"Jack, you are that son ; that poor lady 
is your mother. This castle was once 
your father's and must become yours." 

Tack uttered a cry of surprise. "It 



cannot be ! This castle my mother's and 
mine! And you — why are you here — 
why does the giant let you live?" 

hen that lays golden eggs 
giant's chief treasure 

"Listen," she said, "and I will tell you. 
I lived in the village yonder, where every 
one hated and feared the giant. He had 
killed my father, the king, but I escaped 
to the forest and was lost. The giant 
found me and made me a prisoner. But 
the little people — the fairies who loved 
your father so dearly — have watched over 
me and have made it possible for you 
to win back your inheritance. A precious 
ift of the fairies to your father was a 

That is the 
When the giant 
made me a prisoner the fairies made 
known to him that unless I was well 
treated and cared for the hen would not 
lay the golden eggs. I have been waiting 
for you. Today you must get the hen 
and take it to your mother. Then you 
must come back for me." 

She took him to the first floor of the 
astle, thru a long hall and to a large 
wardrobe that opened from it. The key- 
hole was large and thru it he could see 
everything that took place. By-and-by he 
heard a heavy tramp on the stairs and 
a voice like thunder roared : 

"Fe, fa, fi-fo-fum, 

I smell the blood of an Englishman. 

Be he alive or be he dead, , 

I'll grind his bones to butter my bread ! 

"'There's a man in the castle!" cried 
the giant. "Let me have him for break- 

"No," said the servant, "it is a nice 
fresh steak from an elephant that I have 
cooked for you. Sit down and make a 
good breakfast." 

When he had breakfasted he called the 
princess and told her to bring the hen 
that laid the golden eggs. She did as 
she was told, placing the hen before the 


"Lay!" he said to the little white hen, 

and she instantly laid a golden tgg. 

"Lay!" said the giant, and she laid 

another. "Lay !" he repeated the third 

time, and another golden Qgg was 

laid on the table. 

"I'm sleepy," said the 

giant. "Go away, but 

eave the hen here," 

he said to the 

princess. In a 

minute he was 

sound asleep and 



snoring so loudly it sounded like thunder. 
When Jack saw that the giant was 
vx fast asleep he pushed open the door 
{|r*— of the wardrobe and crept out. 
He softly stole across the 
room, picked up the hen, made 
his way from the castle 
and to the top of the 
he de- 
ed a s 
fast as 
he could. 

eggs was gone. So next morning, when 
his mother had gone to market, he 
hastened up the beanstalk to the giant's 
castle. He did not see the princess, so 
he crept around to the back of the castle 
and thru the long hall where he had left 
the giant sleeping the day before. 
He peeped thru the door and saw the 
poor little princess cowering in ter 
ror before the giant, who was sharp 

ening his ax and roaring, "Bring 
me the little hen, or off goes your 
head ! Bring me the little white 
hen or off goes your head!" •? 
Jack was paralyzed with fear c *'^f' 
for a moment, then he threw ryfi 

open the door and 
jumped into the 



his mother saw him she wept with joy, 
for she had feared that the fairies had 
carried him away or that the giant had 
found him. She was very glad to see 
the hen, which would make them rich 
once more, and told Jack he must not 
venture up the beanstalk again. 

But Jack knew the beautiful princess 
was waiting for him, and he knew the 
giant would not spare her life when he 
found that the hen that laid the golden 

room so sudden] y and so 
startled the giant that he dropped 
the ax. "Come!" said Jack to the 
princess, and they fled, shutting and 
locking the door and. throwing the key 
away as they ran. 

They ran from the castle and hid be- 
hind a huge rock that lay at the foot of 
the castle and not far from the top of 
the beanstalk. As they cowered there 
they could hear the giant battering down 



the door and knew he would soon be 
upon them. From behind the rock they 

striding over 

gave them 

a chance to escape to the 
but as they started to 
d e s c e n d they 
looked back and 
saw the giant, 

with his huge 
club, in hot pur- 

said Jack to the 

Lu r^'A ^> 


put an end to him when we get 
down." And to reassure her he 
sang gaily, "Hitchetty, hatchetty, 
down we go ; hitchetty, hatchetty, 
down we go" ; but behind them 
they heard the enraged giant roar- 
ing forth, ''Hitchetty, hatchetty, 
down / go ; hitchetty, hatchetty, 
down / go." 

''Quick, mother !" cried Jack as he 

and the princess safely reached the 

ground. "Bring the ax !" His 

mother ran to him with the hatchet, 

and, warning her and the princess 

to stand back, Jack cut thru the 

stem of the beanstalk. Down came 

the mammoth beanstalk and with it 

the giant, and,- as he fell on his 

head, he broke his neck 

and lav dead at the feet 


of Jack's mother. 



The villagers had been attracted to the 

widow's cottage by the terrible up- 

/ roar, and stood awe-struck, 

£g|J gazing upon the curious 

%<ffc ^ t~ beanstalk and the dead 

whence she had come. "I, too, was 
made fatherless by the giant," the 
princess explained. ''But the little peo- 
ple have watched over me, as they have 
remembered and secretly watched over 



body of the giant. One and all 

** were greatly relieved to know 

that he was really dead and that 
they need fear him no longer. For 
even in this little village, far removed 
from the castle where the wicked giant 
lived, he was held in terror by young 
and old. They listened with amazement 
to Jack's story, and congratulated the 
widow upon being the mother of so 
brave a son. 

When the widow had somewhat re- 
covered from her agitation, she sought 
out the beautiful princess and asked her 


you. Together they have 
planned to bring your inheritance 
back to you and to reinstate you and Jack 
in the castle. 

"They sent the beans to the butcher, 
hoping he would dispose of them to Jack, 
as they thought it time to find out what 
kind of man he was growing up into. If 
he had thrown them away after you had 
told him they were worthless, or if he 
had looked at the gigantic beanstalk and 
stupidly and fearfully wondered, they 
would have left him a while longer where 
(Continued on page 162) 


r e/r 




S> • ■ V • cy 


In Which Some of the Most Popular Players Discuss 
Their Best-Liked Roles 

It's just a bit surprising, sometimes, to 
learn that the play in which you liked 
your favorite player so very, very 
much is one that that particular player 
actually detests. This is true more often 
than the reverse. 

For instance, a great many of Mar- 
guerite Clark's admirers think that she 
was best of all in "Snow White," or ''Still 
Waters." But Miss Clark herself likes 
''Molly Make-Believe" best, altho "Snow 
White" is a close second. 

"I adore children," said Miss Clark, 
with a tender light in her brown eyes, 
''and when I learn that the kiddies like 
me best in 'Snow White' or something' 
like that, I am delighted. But I really 
must admit that, while I enjoyed 'Snow- 
White' and loved playing the part, I like 
'Molly Make-Believe' best of all. Or, 
really, I think they must both rank as 
favorites — 'Snow White' because the 
children liked it, and I liked playing a 
child in it; 'Molly Make-Believe' because 
it's such a darling little book, and I fell 
in love with the heroine the moment I 
read about her. Why, I read that book 
when I was on the stage, before I ever 
even considered picture-work, and I won- 
dered if it could be made into a play and 
if I could play the lead. So when Mr. 
Zukor told me that he had bought the 
picture-rights for it, and that I was to 

play the lead, perhaps you can imagine 
my delight. Molly was a delightful 
little person, and a real human being, so 
it was a delight to play her !" 

On the other hand, Cleo Madison likes 
a play that nine out of ten of her ad- 
mirers conceded to be her best — namely, 
"The Trey o' Hearts" series. One of 
the prime reasons that caused Miss Madi- 
son to say this was that she was given a 
unique opportunity in this play to play a 
sweet, faded mother, who gives birth to 
twin daughters, dying later just when the 
twins need her most. Afterwards, as 
every one knows, Miss Madison played 
the twins. 

"I dont suppose one is ever com- 
pletely satisfied with a role," mused Miss 
Madison. "The character is either too 
goody-goody or else too wicked. But in 
this play I played Judith and I was just 
as wicked as I could possibly be. Then, 
before the thought of that wickedness 
had palled on me, I was allowed to play 
the sweet, self-sacrificing, noble Rose. 
And there was a charming thread of 
love-interest thruout that completely sat- 
isfied my yearning for romanticism. In 
fact, I dont believe there was ever a more 
likable part to play than mine in 'The 
Trey o' Hearts'." 

Bryant Washburn admits that he liked 
"The Prince of Graustark" best of any 




part he has played so far. And that 
isn't to be wondered at, for Prince 
Robin is a most interesting creature and 
a character much admired by all who 
have read of his adventures. And Mr. 
Washburn was one of those who had read 
and admired the book Robin. So when 
the call came for the part . 

of the Prince, he was 
quite ready — and a 
dashing figure 
h e made i n 
the u n i- 
f o r m © *>■ 

in store for her, and one day it came. 
And such an opportunity ! A Juliet with 
a background of real scenery — real for- 
ests and lawns, a real balcony overhung 
with great, fragrant roses ; and a Romeo 
quite worthy of the honor ! This, then, 
is Theda Bara's favorite role, and I dont 
think it needs any explana- 
Do you 
"I always thought 
myself a com- 
edienne," ob- 




of Graustark, slim and straight and 
manly, this bonny Prince in the guise of 
Bryant Washburn. 

Was there ever an actress who didn't 
yearn for the opportunity to play Juliet? 
I dont believe that there ever was. Theda 
Bara, of course, was no exception, and 
tho she had never had just the opportu- 
nity she wanted on the stage, it was still 

Ward, apropos of nothing in particular, 
it seemed, one afternoon. "In fact, when 
I first made my English debut, and it be- 
came known that I yearned to become a 
dramatic actress, one critic kindly in- 
formed the public that I had taken leave 
of my senses — or words to that effect. 
He added — 'that poor Fannie Ward, who 
wanted to be a dramatic star ! Whv 



if she would mind daredevil riding, a 
bad fall or two, swimming 
thru cataracts or jump- 
ing over bridges and 
incidentally climb- 
ing under and 
over a movin 
train, she 


IN "THE MAN IN THE chair' 

smiled. These things were all in the 
day's work for her, for she had been 
doing most of them, and "then some," 
all her life. On her brother's ranch in 
California she was the only girl within 
a radius of two hundred miles. And 
because help was hard to get, she donned 
trousers and chaps, and learnt to ride 
as hard, shoot as straight and throw a 
rope as well as any man on the ranch. 
Back in Chicago her father was a rail- 
road official, and she was taught from the 
time she was a child to face life squarely. 
She knows everything there is to be 
known about the railroad, from the round- 
houses and the switching-yards to the 
chairs of the officials. She — the dashing, 
spirited adventuress of the rails — is, of 
course, fond of railroad dramas. Who can 
imagine Helen doing anything else ? — that 
is, unless you have seen her doing some- 

thing else. Pier favorite role is Helen 
Holmes in "A Lass of the Lumber- 
lands." And the reason? Oh, well, the 
reason is as thoroly feminine as is 
Helen herself — "Just because!" 
J. Warren is the one and only Kerri- 
gan — he's the popular idol of the 
screen, and every one who has 
been intimately associated with 
him says he's a prince of a fel- 
low. Handsome, courtly, chiv- 
alrous — he is well fitted for the 
leading roles which call for him 
in the part of a business or 
society man — but he goes 'way, 
'way back to the early days of 

dorothy gish in gretchen the 



filmdom for liis favorite role, and it does 
him credit. It is the title role in an old 
play called "Harmonica Jack," when he 
and Pauline Bush were at the head of the 
old American Company. Ah, them were 
the good old days ! J. Warren 
played a good-looking, care- 
free cowboy engaged to the 
ranch-owner's daughter. All 
went merry as a marriage- 
bell — and those festive instru- 
ments could be heard all over 
the place ! — until the "cow- 
girl's" Eastern friend came on 
a visit, and immediately it was 
all up with "Harmonica 
Jack's" wedding plans. How- 
ever, his fiancee was a dutiful, 
self-sacrificing sort, and she 
gave him up to her rival — 
"riding away into the heart 
of the sunset," leaving the 
two alone to their new- 
found happiness. Curtain 
— or fade-out ! 

If there's anything Wal- 
lace Reid hasn't done we 
would like to know it. He 
was educated at a military 
academy, worked on a 
ranch in the West, ran a 
hotel, worked on 
the government ... • 

survey o f 

and was for a time a reporter on the New 
York Evening Sun. Then, as a mat- 
ter o f variety, he went into 
^\i/*u vaudeville i n a 
sketch written 



"A LASS OF THE lumber- 

by his father, and about 
three years later faced the 
camera. In Motion Pictures 
he has done everything a 
scenario-writer can think 
of, including cowboy stunts, 
falls, fights, dives, and ha's 



even been a female impersonator. Among' 
his many noted screen achievements was 
his support of Geraldine Farrar in 
"Carmen" and 
"Marie Rosa," 
and he quite re- 
cently support- 
ed the fair and 
talented G e r- 
aldine in the 
gigantic pro- 
duction, "Joan 
the Woman." 
But for all that 
Wallace R e i d 
and C 1 e o 
Ridgely both 
have the same 
play as a basis 
for their favor- 
ite roles. It was 
— and is — "The 
Gold en 
Chance," and it 
w a s the first 
time the}- had 
ever co-starred. 
Xeither kne w 
the other very 
well until this 
picture was 
started, but 
they discovered 
that they were 
ideal opposites. 
It was purely 
a matter of 
business^ but 
each realized 
that the other 
made a splendid 
support to his 
or her work, so 
they set out to 
see what they 
could do with 
this, their first 
picture to- 
gether. The 
story was a 
charming one — 
a sort of Cin- 
derella thing — with the poor girl mas- 
querading — for a price — in borrowed 
plumage for the enticement of the voting 

millionaire, who was 'straight and clean." 
True love came and found them, and 
made their favorite role. 

cleo ridgelv and 

wallace reid 

in "the goldex 


george beban, whose italian characterizations have shed new luster on 
the screen, presents another original role in 
"a roadside impresario" (paramount) 


I tfUttMMlMI 



Pictorial Lessons in Photoplay Expression 


— -•— — - 

If you 

Weigh two hundred pounds, 
Dont try to register 

If you pull the beam 
At less, 

You may get by with it, 
If you will roll up your eyes, 
String out your hair, 
And look as if 
There was 
Nobody Home. 


To register 

A Yampirish cunning, 

You will have to wear 

Long black ear-rings, 

And do your hair 

Into hooks, 

The rest dont matter. 

But thus equipped 

You can Vamp 

From Daylight unto Dark, 

And then some — 

No home complete without one. 

Her vev 



To do 

Justice to Fury, 

You should have the 

Director tell vou exactly 

What he thinks of 

Your acting. 

If he tells you that 
You remind him 
Of Marie Dressier 
In your tragic scenes. 
You will register Fury 
Just about right. 


If Surprise 

Is to be depicted, 

Get the eyes 

Straight up and down, 

With the lashes pointing 

To the North and South — 


No matter how painful 
It may be. 

Then open the mouth 
In the same manner, 
But be careful not to 
Yawn ! 


($*Jim^ : :m 



South Africa is of especial interest to 
Motion Picture fans for two reasons : 
first, it was the habitat of all of 
Fannie Ward's diamonds ; and, second, it 
was the birthplace of that 
"Little Gypsy" of Motion 
Pictures, Dorothy Ber- 
nard. The first reason is 


ica or a desire to travel that incited 
Dorothy, while less than a year old, to 
make life so miserable for her parents, 
both of whom were actors, that they de- 
cided to return to their native land, we do 
not know, but, anyway, the important 
event took place and the Bernard family 
returned to California. As soon as Dor- 
othy was old enough to walk she became 
a member of her father's company. The 
time came all too 
quickly for her 
to attend 
school, but 
w h e n 



one from a publicity 
standpoint, but it is far 
outshone by the one-thou- 
sand - candle - power incandes 
cence of the Bernard personality 
for while money will hire a press- 
agent with an imagination so vivid that 
Edgar Allan Poe would appear like an 
amateurish impostor in comparison, gold, 
silver and diamonds cannot buy an at- 
tractive personality. 

Whether it was inherent love of Amer- 


old the 
call of the 
footlights became 
too great and she 
again joined her father's company. For 
three years she was the leading actress at 
the Belasco Theater in Los Angeles, and 
then she decided that she wanted to come 
to New York, and to New York she came. 
She was starred on Broadway, which, in 




actor slang, means that she played the 
lead in a legitimate play for two seasons, 
and then she became a member of the 
''Old Biograph Company," along with 
Mary Pickford, Blanche Sweet and a 
number of other present-day celebrities in 
the world of Motion Pictures. 

If D. W. Griffith should, by chance, 
read this conventional outburst of Bio- 
graphic past, will he please account to 



the Editor why he allowed Miss Starlet 
Marjorie, who accompanied her mother, 
Miss Star Dorothy, to the studio, when 
only three months old, only fifteen min- 
utes for lunch, when the recognized au- 
thorities, proclaim that forty-five minutes 
should be allowed? 

After two years spent in private life, 
Miss Bernard joined the Famous Players, 
and then came a contract with Lubin. 
Fox next signed her name to a contract, 
but this expired some time ago, and Miss 
Bernard is now starring for the Art 
Drama Company. 

Every one remembers Miss Bernard in 
"Princess Romanoff" and "Little Gypsy," 
and recognizes her smiling face on the 
screen, but very few people know that 
her "nom de plume," if you please, off 
the stage and screen, is Mrs. Dorothy 
Van Buren, and that Miss Marjorie, who 

shares the Van Buren apartment in up- 
per Manhattan, and whom D. W. G. so 
cruelly mistreated, is already a girl of 
six, and is growing fast. I have her 
word for it, and she certainly should 

On the day that I had the pleasure of 
interviewing her, Miss Bernard was 
wearing a new white walking-suit, 
trimmed with black fur. White shoes 
and gloves and a plain black-velvet hat 
completed the costume. Of course, I do 
not know whether face-powder, cosmetic 
or rouge was included, but for the sake 
of peace at any price, let us assume that 
it was, for I am sure that Miss Bernard 
will not care, and it will make the inter- 
view so much more romantic, you know. 
If I am any judge of beauty — and to be 
perfectly candid, that is the one subject 
that I consider myself qualified to discuss 

© Underwood & Underwood 

— Miss Bernard is a very good-looking 

Miss Bernard is five feet eight or nine 
inches tall, rather light in weight, and 
jolly. She has a very pleasing smile, 
which brings into being a set of full- 
grown dimples, and every smile or laugh 
brings to view a row of sparkling teeth. 
While Miss Bernard is far from a nervous 




wreck, it is plain that she is rather 
"high-strung," and wishes to be kept 
busy. Her hands, too, are distinctly 
characteristic ; narrow ^alms and long, 
sensitive fingers betray the fact that Miss 
Bernard is an accomplished pianist. 

As I sat and listened to Miss Bernard 
relate the story of her life and experi- 
ences, I decided that that eminent Cru- 
sader, St. Bernard, had been no more of 
an adventurer and "globe-trotter" than 
his namesake. The only country that I 
could suggest that she had not visited 
was China, and she said : "The nearest I 
ever came to China was Chinatown, and 
then I resolved that I did not care to visit 
the land of rats and rice, but I may 
change my mind." 

"Have you any special hobby?" I 

"None at all out of the ordinary," was 
the reply. "Of course, I have an auto 
and I just love motoring, and I like 
music, too, altho the car has more at- 
traction for me than the piano. By the 
way" — she looked at her wrist-watch — 
"I have an appointment down on Thirty- 
fourth Street at three o'clock, and I've 
got just ten minutes. If you happen to 
be going that way you are welcome to 
the ride." 

My intentions had been to go uptown, 
but it took me just two seconds — or pos- 
sibly a little less — to change my mind, 
and I followed Miss Bernard out to her 
car. No, you have guessed wrong. This 
car did not come from Detroit, and in- 
stead of running on its reputation, it de- 
composes a gallon of perfectly good gaso- 
line every seven or eight miles. Miss 
Bernard unlocked the door — it was a 
town-car — and took her place at the 

wheel, and I deposited myself in the other 
seat. Miss Bernard said : 

"I haven't had this car very long; I 
exchanged my other car for this one be- 
cause it is so convenient. You see this 
is all enclosed, and when I pull down the 
curtains I have a private dressing-room. 
.When we are out on location, it is very 
handy, for it is the only place to change 
costumes. I also use it as a shopping- 
car, and now I can come downtown 
oftener. There is no car like your own, 
even tho you do drive it yourself. What 
do }'ou say?" 

"Well, Miss Bernard," I answered, "all 
I can say is that I cant say a thing. In- 
terviewers and cars are seldom on speak- 
ing terms." 

Miss Bernard stepped on the self- 
starter, and a moment later we were on 
our way. West on Forty-fifth Street to 
Eighth Avenue, down the Avenue to 
Forty-fourth Street, and then back to 
Broadway we went. At Forty-second 
Street we were forced to wait for a mo- 
ment until the traffic-officer, a tall, broad- 
shouldered Irishman, gave us the signal, 
and as Ave shot past him he doffed his 
cap and called out, "Saw you in the 
movies last night, Miss Bernard ; you 
were fine." 

He failed to hear the cheery "Thanks" 
that Miss Bernard sang out, but if he 
caught a glimpse of the pleased smile on 
her face he felt amply repaid for break- 
ing the "talking-to-your-friends" rule. 

As I stepped from Miss Bernard's car, 
at Thirty-fourth Street, she admonished, 
"Now, be sure and tell the truth, and 
nothing but the truth, in your write-up. 
Say that I am twenty-six years old, and 
not twentv." 

1 he Very Sad Fate of the Girl from Decat' 

A shipwrecked screen star from Decatur 
(Her figure was her raison d'etre) 

Was saved from the sea 

By cannibals three — 
Line 2 will explain why they ate her. 

How do I write 

A photoplay? 
Well, I'll explain — 

It's just this way: 
First lay your scene — 

The month of May, 
A lonely road, 

A mansion gray. 
Then find your man, 

A handsome chap — 
Present him with 

A dire mishap. 
A maiden, 

Chasing butterflies, 

Comes to where 

The hero lies. 
She takes him to 

Her home — 'tis nigh- 
And nurses him, 

And time goes by. 
Dan Cupid enters, 

Bow and darts. 
And thus entwine 

Two loving hearts. 
What do they bring? 

I cannot say — 
My last one came 

Back yesterday. 

A Department of Expert Advice, Criticism, 

Timely Hints, Plot Construction 

and Market Places 


Staff Contributor of the Edison Company, formerly with 
Pathe Freres; Lecturer and Instructor of Photoplay Writ- 
ing in The Brooklyn Institute of Arts and Sciences, also 
in the Y. M. C. A. of New York; Author of "The Photo- 
drama" and "The Feature Photoplay" and many Current 
Plays on the Screen, etc. 


Close Views 



I offer the personal 
opinion that the Mo- 
tion Picture industry 
will prosper and the 
Photodrama itself will 
be enriched because of the war. 

The photoplaywright will do well to 
get in on the ground floor of the new 
structure that is about to be erected in 
the field of Photodrama. For with the 
change of temper on the part of the 
audiences there must come a vital change 
in the nature of their entertainment. 

If we have not said so before, let us 
emphasize that Photodrama is nothing 
more or less than an interpretation of the 
popular temperament of the moment in 
artistic terms of entertainment. 

There will be a startling reaction with 
the first shock the war will bring home 
to us. As we approach the Chasm our 
minds will be filled with sinister thoughts 
and our souls seek to be attuned to the 

Individuals react individually. Some 
will seek solace, others diversion, and 
still others an atmosphere in tune with 
their highly keyed spiritual sense. 

This would mean that three forms of 


entertainment would be largely resorted 
to. Plays reflecting charm, sweetness 
and all the gentler emotions would be- 
come the balm of solace to those afflicted 
with an open wound of sacrifice. Plays 
touching a predominant comedy note will 
be a haven to those fleeing from the 
wrath of war and its tidings. Plays with 
a slight religious trend of thought and 
treatment will meet the yearnings of the 
spiritually inclined. 

By plays of charm I mean the Mar- 
guerite Clark type — plays with frail plot, 
perhaps (altho this need not always 
follow), but with abundance of "pretty'' 
incidents, charming situations and per- 
sonal accomplishment. There must be 
thruout a warp of comedy transversing 
a woof of pathos - ; the audience must be 
kept in laughter and tears. 

By far the most popular form, I feel 
sure, will be the comedy-drama. Herein 
the photodrama will receive its most val- 
uable development. Until a compara- 
tively short time ago, fine comedy was 
thought to be too subtle for photoplay 
exposition. We saw and suffered from 
the half-baked farce from the very first. 
By fine comedies I do not mean exactly 
the Douglas Fairbanks type, nor yet the 
Charlie Chaplin variety. I mean, rather, 
plays on the order of the stage plays, 



"The Boomerang," "Fair and Warmer" 
and "Turn to the Right." 

I have tried to approximate my version 
of this type of comedy in "The Self- 
made Widow," just released by the 
World Film Corporation and starring 
Alice Brady. 

Last of the three aforementioned types 
of the near future is the semi-religious 
play. This would include plays based on 
regeneration, miracles, faith and other 
themes broad enough to make them inter- 
denominational and non-sectarian. That 
is, plays that are spiritual rather than 
doctrinal. I saw a Thanhouser recently 
that was obviously Christian Science, yet 
the lesson was beautiful and finely 

The first shock of the casualties will 
no doubt bring a strong national reaction 
against all forms of amusements. It will 
seem profane to go to the theaters while 
our boys are in the trenches. 

Too, there will be an appeal against 
the seeming extravagance of spending 
money to attend places of amusement. 

Moderate and fitting- diversion is the 
nation's safety-valve in times of extended 
calamity. Those who remain home and 
brood in a dark room will soon be unfit 
to do their bit in the trenches of national 
efficiency of the home army. 

I think the stage-theater will suffer. 
The spirit of economy will grow strong 
against the general admission that is 
more than 50 cents. 

The Motion Picture will then come into 
its own more than ever as The People's 
Playhouse, with prices to fit the People's 



Current Plays 

When one sees the 
name of a well-known 
novelist like Cyrus 
Townsend Brady em- 
blazoned as the author 
of a photoplay one naturally expects 
something excellent. 

"The More Excellent Way" is the title 
of a Vitagraph Blue Ribbon feature play 
made enticing before taking because of 
Mr. Brady's authorship. 

Here's the story in its chestnut shell : 
The story opens pleasantly with the death 
of the heroine's father. The heroine is 
Anita Stewart and her guardian is 

Charles Richman. For Jove's own reason 
Anita loves a young man who Mr. 
Brady announces in melodramatic lines 
is branded with the curse of drink, and 
the moment he appears he begins to swill 
the fatal fluid. 

Somebody gives Anita a coming-out 
party, and the poor young nut tanks up 
just as we feared. Later he attempts to 
kiss Anita violently, and she puts a bit 
of novelty into this hoary situation by 
knocking him cold in a way that would 
do credit to Jess Willard. Richman 
comes in and announces pathetically that 
the young man must have slipped. 

One is apprehensive for Richman. who 
now proceeds to make love to Anita 
within easy reach of her mighty right. 
Anita narrows her eyes a moment and 
then consents to marry Richman. 

They are married, and the disappointed 
alcoholic suitor slips in and Anita looks 
into his eyes and he picks up what looks 
like a tube-rose — you've seen this scene 
so often that I know I'm boring you. 

In the bridal suite that evening Anita 
confesses that she had not thought,, and 
Richman sees her modesty and walks in 
the snow all night long in his tuxedo. 

A day or two later the young inebriate 
sobers up long enough to come and make 
love to Anita. Richman catches him and 
knocks him down. Anita takes his part 
and announces she is going straight to 

Richman, we now learn, is a movie rail- 
road magnate. The boy inebriate is the 
center of a powerful group of financiers. 
Oh, yes, we were surprised, too. 

The young inebriate is about to ruin 
Richman in a speech the words of which 
we fortunately do not hear, when Rich- 
man turns the tables on the group, in 
some intervening scenes which have for- 
tunately been left out. Then the despic- 
able inebriate thinks of a way to crush 
Richman. Anita has two millions which 
will break her husband if used against 
him. The young devil wires Reno and 
Anita dashes back an immediate reply 
to the effect that nothing will give her 
more pleasure than to give the paltry 
amount, etc. 

The inebriate goes to Anita's lawyer 
and is about to be given the two million 
dollars in securities — a verv lean bunch 



of papers — on no further credentials, 
when Anita learns they are to be used 
against her husband, and sends a second 
telegram with no more emotion. 

For some occult reason, Anita decides 
to return to her husband. The curse of 
drink flames in the veins of the thwarted 
inebriate and the author puts a revolver 
in a convenient drawer. Richman and 
Anita are brought together thru another 
stroke of Providence. 

Here is the point. I'll wager that 
ninety per cent, of the readers of this 
department can put together a better play 
than the foregoing fanfare. 

A revised list will appear from time 
to time. 


COMPANY, San Rafael, Cal. (Tem- 
porarily out of the market.) 


309 Dominion Bank Building, Toronto, 
Can. (Plays that nationally reflect 


Boulevard and Gower Street. Los An- 
geles, Cal. (Short comedies.) 

9. CONQUEST PICTURES (see Edison). 

(Juvenile, boy, 2-reel.) 
Metro). (2-reel comedies built around 
the Drews.) 



The following is an 
up-to-date list of Pho- 
toplay Markets. 

This list was begun 
in the August number 
of the Motion Picture Classic and will 
be continued in installments until com- 

It is suggested that writers of Photo- 
plays cut the list out and keep it for 
constant reference. 

As a practical supplement to Air. Phil- 
lips' series of articles on the Photodrama, 
it will greatly aid our readers to read 
"The Photoplay wrights' Primer," by L. 
Case Russell. This little book goes right 
to the roots of photoplay requirements, 
and is the slow-gathered experience of a 
very successful photoplay writer. We 
will supply the Primer for 50c. postpaid. 
— The Editors. 


Whom God Hath Forsaken 


Long known as the Fox villain, Stuart 
Holmes has recently broken away from 
stock villainy, and has presented a series 
of heart-studies that are masterpieces of 


portrayal. His Dimmesdale, in "T 
Scarlet Letter," and his forthcomi 
"The Derelict," are studies of men whc. 
God hath seemingly forsaken. 

William Garwood 
Plays Various Roles- 
Director, Actor, Athlete, Author 


From "Caledonia, stern and wild ; meet 
nurse for a poetic child" — from the 
land of song and story ; the land 
of Burns and Scott, of clan and of plaid, 
of heather and of golf, 
comes the line of Gar- 
wood. And so it is not 
strange that many 
highly developed 
rifts find most 
h a p py expres- 
sion in that 
\ veritable idol 



of the screen, William Garwood. Young, 
only thirty-three; really a singularly and 
strikingly handsome man among men ; 
unmarried — not in the Reno sense, but 
in the good old-fashioned way of having 
remained modestly undiscovered by his 




J* life-partner while he was 
being discovered by every one 
else — ''Billy" would seem to 
call for an explanatory word 
rather than an introduction to his 
hosts of friends and admirers. 
His pictures show a keenly alert men- 
tality and a splendidly balanced poise. 
They indicate no lack of accord with the 
high histrionic values he has created and 
so successfully directed, first in the great 
training-camp of the mimic world of the 
drama, and, later, in the last refine- 
ment of the art of silent expression, the 



enduring record of the films. His watch- 
word is "realism." After appearing for 
several years with noted players on the 
legitimate stage, Mr. Garwood entered 
the Motion Picture world in 1910, as a 
member of the Thanhouser Company, 
starring, as Bertie, in "Under Two 
Flags,"- opposite Florence LaBadie's 
Cigarette ; as Walter Hartridge in "The 
Woman in White," opposite Marguerite 
Snow, and in many other well-remem- 
bered successes. 

Three years later he joined the Ma- 
jestic Company, playing prominent parts 
in "The Van Wardens' Rubies" and "The 
Shoemaker and the Doll." The follow- 
ing year he was featured in American 
productions, sharing honors with Vivian 
Rich in "The Lost Sermon" (as John 
Strong) and in ''Nature's Touch" (as 
Richard Stone). His work made him 
more popular than ever, and he responded 
to a call from the Universal Company. 
He remained there two years, directing 
and appearing in one-reel comedy-dramas 
opposite Violet Mersereau, and in the 
popular serial, "Lord John's Journal." 

Then the Triangle octopus reached out 
its Ince tentacle and William Garwood 
(as Frank Gerard) starred with Enid 
Bennett in "The Little Brother" and in 
other productions. He next found his 
way into the Metro fold, playing Eric 

Southard, the young lawyer of good 
family, in "A Magdalene of the Hills," 
opposite Mabel Taliaferro. 

During his college days he was one 
of the most popular amateur actors in 
Drury University, Springfield, Mo. He 
also qualified as a chemist and metal- 
lurgist, and spent some time in testing 
ores in the zinc mines of Joplin, Mo., 
and around Denver. Now he registers 
his occupations as photoplay actor and 
farmer. He has wisely planted his 
savings in productive acres of the broad, 
fertile valleys near Los Angeles, and has 
planted these acres in onions, raising both 
bumper crops and a bulging bank account. 

He keeps his five feet ten inches height 
and one hundred and sixty-five pounds 
weight in perfect athletic condition by 
swimming, motoring and football play- 
ing, when not engaged in the studio 
work or hoeing onions in his garden. 

His kindly brown eyes express not only 
sympathetic unselfishness, but also inde- 
pendent and dignified reserve. From 
each particularly well-groomed dark hair 
of his well-shaped head to the immaculate 
white canvas tip of his oxfords he always 
appears the gentleman. Genial, com- 
panionable, an excellent actor and a good 
business man, he is at once the student 
and the author, the artist and the critic, 
the idealist and the practical manager. 

M M M 

A Romance of the Photoshow 


he moon is shining softly on the lake of midnight blue, 

And the shadows creeping onward — are they lonely, just these two, 
In their boat upon the water, swaying gently with the breeze, 
With the moon up there in heaven as the only one who sees? 

'Twas a scene within a movie, and the beauty was sublime- 
As we watched his hand creep nearer, why, I felt a hand in mine; 
As He leaned to whisper gently, something brushed against my ear; 
As He asked her, "Do you love me?" some one whispered, "Do you, Dear?" 

Then I looked, and Tom was asking, as the man upon the screen 
Asked the maiden in the picture to fulfil his life's long dream; 
Then I turned, but, blushing deeply, as he gently took my hand — 
Tho I turned my head, I nodded, for I knew he'd understand. 

As I looked, the picture maiden 
Slowly drew her diamond on; 
So I knew it was the movies 
Made me love and marry Tom. 

Photo by Aped; 

DOROTHY KELLY (Vitagraph) 

Extra Ladies and Gentlemen" 


(Continued from the August issue) 

Whatever they are, or whether they 
are not, they are the only possible 
products of such parents. But 
whence in the name of Peter Kyne's pink- 
toed prophet do such "mothers'' come? 

What is the secret of the hundred 
horse-power magnetism of the -movies? 
Why is it the studios attract to the ranks 
of their aspirants, the aged and the in- 
fant, the educated and the illiterate, the 
professional, the amateur and the 
shanmteur? Any one of them could 
earn a better living picking lemons, or 
peddling papers. Nothing but acute 
vainglory could possibly account for the 
daily presence of most of these volun- 
teers in every movie camp. Few, even 
of the best qualified, or even the best look- 
ing, have any chance of success. Some 
get a sort of a living by their very 
eccentricities of appearance or peculiar 
accomplishments other than acting. Per- 
sons with dropsy or Bright's disease are 
pretty sure of fairly regular work with 
the various comedy companies. Who- 
ever said "Nobody loves a fat man" had 
never been much to the movies ! Those 
in an advanced state of tuberculosis or 
some other wasting disease are likewise 
reasonably assured of occasional em- 
ployment. Snake-charmers, fire-eaters, 
dwarfs and other Barnumed beauties, or 
Sells-Flotonic freaks, may occasionally 
demand (and get) good money, tho the 
popularity of performing apes is quickly 
crowding ordinary actors and actresses 
out of business. Circus clowns, of 
course, can command higher salaries 
than cabinet ministers or even musical- 
comedy queens ! But the wise parent 
will find it more profitable to "raise one's 
boy to be a soldier," or to bring up one's 
girl to be a politician. 

The only qualities which will always 
win thru in the end are those of pluck, 
patience and persistence. But of these, 
pluck is purely a matter of tempera- 
ment; patience the product of financial 
resource ; and persistence the offspring of 
aspiration and will. With this trinity in 
unity you may become a star. But, if one 
be lost, the others become of no avail. 


While every movie camp is doubtless 
a favorite recruiting ground for the 
sensualist, the seducer and the white- 
slaver, that is not to say that its stand- 
ard of morality is necessarily lower than 
that of any other place of commercial 
employment. It is high time the Motion 
Picture profession took issue with its 
traducers. While any occupation — par- 
ticularly those which appeal to the aes- 
thetic faculties — has its black sheep, its 
goats and its swine among its live-stock, 
I have seen nothing in Motion Picture 
studios to compare with the putres- 
cence of those puritanical Pecksniffs, 
those carrion-minded Chadbands, who 
love to vilify and slander the workers of 
a profession whose boots they are not 
worthy to blacken. As one who has been 
in "close-ups" with the dramatic profes- 
sion all his life, not only as playwright, 
publicist and critic, but as an actor 
and producer both on stage and screen, 
I venture to think that the morality of 
the much despised "extras" of the silent 
drama will compare favorably with that 
of any of their critics in the more voluble 
professions. This is, I know, incredible 
to those who have been "yellow-pressed" 
by the bilious-minded into believing that 
the movie camps are reincarnations of 
Sodom and Gomorrah, but it is less than 
the truth. As a matter of fact, the aver- 
age Motion Picture people are probably 
the most respectable and the most do- 
mesticated of the entire theatrical pro- 
fession. Further than that, considering 
all conditions, you will find that the poor- 
est are the purest in the photoplay world. 
For one thing they cannot afford to be 
self-indulgent. Profligacy is too destruc- 
tive of physique ; and in no other calling 
in the world is a fine physique and a 
good appearance so essential. Sex re- 
lationships may be regarded with less 
prurient curiosity and intolerance than 
distinguish those employed in less aes- 
thetic occupations, but in no other voca- 
tion is clean living more necessary to 
secure, much less to keep, work. 

Motion Picture acting makes a 
unique demand on the physical, as well 




as the psychical, system. Body and nerve 
alike must be strong, the mind must be 
clear, the habits clean. Unlike its sister 
branches of the dramatic profession, 
Motion Picture acting, it must be re- 
membered, is out-of-doors work. Even 
the apparent interior scenes are made 
'neath God's good sunshine out-of-doors. 
At the worst, the "sets'' are under glass. 
The work, moreover, is prac- 

Openings for Families 
The employment of more than one 
member of a family in the same studio 
makes for stability. So many employees 
are engaged in capacities other than 
acting that this is easy. Your wardrobe 
mistress may be the wife of your lead- 
ing-man, whose sons may be anything 
from an artist to a property boy, or 
an assistant director to a i 

camera-man, or even the ex- 

average working dav is from 
1 8:30 a. m. to 5:30 p. m v with 
changes and modifications governed by 
light and sunshine. Show me the man 
who works in the sunshine, and I will 
show you the man whose soul is least 
in need of soap. 

Sunshine and Fresh Air — These are 
the priceless attributes to the every-day 
work of those engaged in Motion Pic- 
ture work. It is a profession, peculiar for 
its dependency on sunshine and outdoor 
location ; unique in the time and facilities 
it gives for healthy and happy home-life. 
You will find entire families working 
as "extras," and many employed in the 
regular companies at the studios. 


alted and exclusive scenario writer, 
who is little seen outside his own 
scenario. Scenario writing is, on 
the whole, the most peaceful depart- 
ment of studio work, tho it causes 
most trouble. 

(That's why some of us give up act- 
ing for scenario writing. After you are 
married, one is always seeking for peace, 
only to find trouble.) Your daughter 
too, apart from acting, may be anything 
from the little-seen scenarioist to the 
"under-developed'' laboratory superin- 
tendent or the "over-exposed" publicity 
expert. If she has enough brains and 
brutality, she may even become a direc- 
tor, tho up till now no woman has been 
found callous enough to take on the job 



of the camera-man. The best job is that 
of purchasing agent, but this plum is 
generally reserved for the proprietor's 
son, who can be trusted to safeguard the 
firm's interest equally with his own. 

This tendency to utilize the services of 
married folks and their families in 
preference to the single and unattached 
not only promotes stability, but harmony, 
loyalty and reliability among the staff. 
It has not, of course, threatened yet to 
freeze out the single person, but if two 
or more members of the same family can 
be utilized together, they will probably 
be given the preference. Apart from 
this strong factor in the promotion of 
morality is the fact that in the Moving 
Pictures infants and old people are 
working together. This increases both 
the sense of self-restraint and the idea 
of domesticity. The old people, if at all 
pleasant, are very popular among film 
folks, whose warm, and too often 
lonely, hearts go out even more readily 
to the children than those of their 
audiences. The well-governed studio 
has indeed much of the spirit of the 
happy family. In those — such as Ince's 
(The New York Motion Picture Cor- 
poration) — which employ a large stock 
company instead of engaging "extras," 
this "happy family feeling" is particu- 
larly noticeable. As soon as you start to 
walk round the beautiful Ince studios at 
Culver City, you are made sensible of 
the "camaraderie'' and good fellowship 
that exist between all departments. 
("Camaraderie" is good — nest ce pas?") 

To "Stock" or Not to "Stock" 

This idea of relying entirely upon 
one's regular company to provide the at- 
mosphere is — I think unfortunately — 
losing ground. The tendency in almost 
all other studios is to decrease their 
"stock" and rely more and more upon 
the "extras" who are paid by the work- 
ing-day instead of a fixed salary every 
week. Any economy effected by relying 
on cheap outside help is more than offset 
by the time (and film) wasted in teach- 
ing these people how to act. Moreover, 
the engagement of "extras" is unsatis- 
factory — first, to the director, who has 
constantly to use strange material ; sec- 
ondly, to the business and engagement 

departments, who can never wholly rely 
on the persons thus engaged turning up ; 
thirdly, to the regular actors and ac- 
tresses, who are at an inevitable disad- 
vantage when playing with unknown, 
and for the most part unskilled, people ; 
and last but not least, to the "extras" 
themselves, who cannot do their best 
when weighed down with poverty and 
the knowledge that next day, or the day 
after, they will again be hunting for 
work. The system of engaging "extras" 
instead of relying on stock for small 
parts and small crowds is wholly vicious. 
It is productive of much waste and un- 
told worry. It reduces the prestige of 
the player, and lowers the "morale" of 
the entire profession. Comparisons are 
odious, but one need only compare the 
productions of those concerns who rely 
mainly on their stock companies with 
those who engage the maximum of out- 
side people in order to maintain a mini- 
mum of stock, to see which system 
makes for the better pictures, and there- 
fore for better business. 

What "Extras" Have to Answer For 

It is not that the average "extra" is 
unintelligent or wholly inexperienced. It 
is the precariousness of his or her posi- 
tion that makes for bad results both in 
work and leisure. Stability of employ- 
ment makes for stability of character. 
Irregularity of work breeds irregularity 
in everything else. It is not the "extra" 
but the system that is to blame. It is 
the regular members of the profession, 
however, who pay for the sins of the 
"extras." If one of these casual and 
unqualified applicants for work at any 
of the Motion Picture studios gets into 
trouble, she says she is in "the movies," 
and the papers promptly promote her to 
the ranks of the "movie queen." Prob- 
ably she has never played a leading part 
in her life. Possibly she has never been 
more than mere "atmosphere" {i.e., one 
of a crowd). In this case, we shall read 
of "Pretty Movie Actress in Raid." If 
she has been accustomed to playing 
"bits" she will be called "well known" 
and "popular." If she has played any 
sort of a leading part even in one or two- 
reel pictures, however, this moral back- 
slider can be nothing less than a "movie 



queen." The public gets the impression, 
and the profession a further indignity. 
See how many movie actors or ac- 
tresses, whom you know, of, get into dis- 
grace, and compare them to the number 
of artists, lawyers, or doctors, and you 
will talk no more of "immorality in the 
movie camps." 

A Few Things to Think About 

According to the critics and self-ap- 
pointed censors of other people' 

is at 
tor " 
I have 

of virtue when 
your door and 

is beckoning 


actual starvation 

the rent collec- 

t.o move out. Yet 

Christian charity 


is in the hearts of all their traducers. 
Even among the poorest and least edu- 
cated class of "extras," the men and wom- 
en who are used in the big mob or battle 
scenes, you will find much that is ad- 

among a crowd of waiting "extras' 

_ moral- 
ity you 

would think that "movie extras" had no 
ethics at all. It is true many of them 
would be better in other and more regular 
occupations. It is true, as in all occupa- 
tions (save, of course, that of a police- 
man), that some of them are dishonest. It 
is also true that practically all of them 
are very poor, and that many of them are 
actually hungry. It is easy to be honest 
with a well-filled stomach and a well- 
lined purse. It is hard to hold to one's 

mirable, and not a little that is heroic. 
I have seen men and women walk for 
seven, and even eleven miles to work, 
not having the price of a carfare until 
they draw their day's check. Not one 
or two, mind you, but one or two hun- 
dred ! I have seen the same men and 
women lending each other their "make- 
up" and sharing each other's meals. 
These same people, too, will sit or stand 
all day under the broiling sun and then 
work right thru the night till after day- 
break next morning ! For night-work 



they are of course paid extra. The 
amount of their checks? One dollar a 
day and grub ! 

Earning Your Money 

What "extras" will do to earn their 
money is a story in itself. As I have 
said, the average for "atmosphere" work 
is two to three dollars a day. For "bits" 
and small character crowd work pay- 
ment will go to five dollars ; and for 
small parts requiring real honest-to- 
goodness acting, the reward will be from 
seven and a half to ten dollars a work- 
ing day. The work is easy; indeed, the 
hardest thing about it is the idling. You 

first experience as an "extra." As it 
shows what some of us will do for a 
dollar or so a day. I will quote it as a 
warning rather than an example to 
others. Strictly speaking, I was not en- 

gaged as 
an "extra," 
but m y 
part called 
for the 
t raining 
and drill- 

' extras 



are required to be on the lot within call 
and "made up" all day, but you may be 
•used in only one or two scenes. Often you 
are not used at all. That has its con- 
solations since it means another day's 
"work." The period of waiting to work 
is filled up by idle gossip or reading. 
Many of the women do needlework, no 
small quantity of which, I hear, finds its 
way to the trenches in Europe. 

Talking of trenches reminds me of my 

ing of seven hundred of these dollar-a- 
day men as British soldiers. The job of 
teaching American "extras" British drill 
was "some job." These "extras" were not 
of course the regular studio "extras," but 
out-of-works of all kinds sent by one of 
the city employment offices. The picture 
was a multiple-reel production, which 
has taken thirteen months and over a 
million dollars to make. The scenes for 
which this army of "extras" was required 



depicted the Sepoy Rebellion in India. Five 
hundred or more Mexicans were dressed 
and armed as Indian sepoys and tribes- 
men. An armed Mexican is an uncertain 
quantity — even in a Motion Picture. He 
is as apt to "go off" as his rifle. Some 
of the seven hundred others, who were 
dressed as British soldiers, were equally 
eager to start something, after two days' 
drilling under a California midsummer 
sun. As my front line was preparing to 
fire the first volley of blank cartridges, 
I noticed one old man loading his gun in 
a peculiar manner. Giving the company 
"order arms" I took the old fellow's gun 
and found he had placed within the cart- 
ridge a six-inch nail! As we were firing 
at about twenty yards, that man could 
have relied on shooting somebody' thru 
the head as dead as the door-nail he was 
about to discharge. He protested that 
he was a '"Socialist and a Christian, and 
didn't believe in war," but seeing that 
those around him were not quite the 
same sort of Christians, he "beat it" 
while I was endeavoring to hold off the 
lynching ! 

But that was only the start. In the 
"battle" that followed, I got a sabre-cut 
on the head from an excited Hindoo, which 
enabled me to die down by the camera in 
a pool of my own (not the company's) 
blood, and subsequently necessitated my 
removal to the hospital, where two 
stitches made a new man of me. The 
next day, I charged thru blinding smoke 
into a carefully concealed camera, which 
upset the operator and dislodged two 
of my front teeth. A "brother officer" 
got one of his eyes gouged out by a 
clumsily handled bayonet, while one of 
the opposing army got bayoneted in the 
chest. That picture sure ought to be real- 

istic ! Anyway, it's some consolation for 
getting struck over the heart to know 
that it's all for art's sake! 

The Other Side of the Screen 

It was during the filming of that won- 
derful war picture "Civilization" that one 
of the unrecognizable mob of women 
"extras" died. Her husband, who loved 
her devotedly, was almost distraught 
with grief. When the picture was pro- 
duced in Los Angeles, this man (a well- 
known, respected tradesman in Culver 
City) went night after night just to see 
if he could not identify his dead wife in 
the crowd. He had no picture of her, 
and wanted to see if he could not get 
one made from any part of the film in 
which she appeared. Day after day he 
haunted the theater, trying to identify 
the loved one who had gone. The search 
was vain, and the widower and his three 
"kiddies" today have no portrait of the 
mother who meant so much to them all. 
That is the other side of the "extra's" 
life — the side we do not see on the 
screen ; the side they are apt to forget 
who so readily traduce the character of 
those of whom they know nothing. 

"Pull" Goes Further Than "Push" 

The difficulty of getting on in the 
Moving Picture business is that luck 
counts for more than pluck ; beauty is 
better than brains, and a little "pull" will 
open the doors to success far quicker 
than any amount of "push." "Push," 
pluck and patience may be the three car- 
dinal virtues for those w r ho would "get 
on" in the movies, but the three things 
that have got them beaten a mile for re- 
sults are prettiness, precocity and "pull," 
and the greatest of these is — "Pull!" 

The Camper's Lament 


I like to hear the night-birds as they warble I like the days of sunshine, and the nights 

in the trees, divinely sweet, 

And I like to hear the water's distant And the fragrant air about me as I 

tune; roam 

I like to watch the campfire as it dances Thru forest paths long silent. Yet my 

with the breeze, joy is incomplete — 

And the little stars that wink behind I'm longing for the picture shows at 

the moon. home. 



The Dalton Delilah 

An Intimate Impression of "My Chum Cleopatra" 


I have discovered the antidote 
to ennui. I am not sure 
that I have not found a 
means for bringing the dead 
to life. Be this as it may, 
it is certain that for 
resuscitating those 
drowned in despondency 
the m u c h - b o o s t e d 
Scaeffer method of 
the Royal Life Sav- 
ing Society is not in 
it with one look at 
Dorothy Dalton. 

She is a veritable 
Cleopatra reincar- 
nated with a sense 
of comedy. 
If Teddy 

BICKERS ("Yonck") 

could have married a daughter 
of the Pharaohs, America might 
do homage to another Dorothy 
Dalton. As it is, Mr. Ince's 
Daltonian ray threatens to 
prove unique. Whether you 
ike her or not, there is no 
one quite like her. She 
is a female Mowgli, of 
Kipling's imagining, 
whose personality is 
as kaleidoscopic ai 
her costumes, and 
whose acting is as 
alluring as it is alive 
and breathing with 
artistic abandonment. 
Dorothy Dalton is a 
- devil - may - 
care Deli- 
lah. Her 





fascination is uncanny. It chloro- 
forms criticism. It defies analysis. 

and it was in her native city that 
she gained her first experience of 
the stage. Success on the legiti- 
mate stage was not enough for 
|^ this ambitious young lady. 
She felt she must write. 
She did, and with her first 
play, "The Smuggler," 
secured a '"big" time" 
Orpheum tour. But 
vaudeville did not ap- 
peal to Miss Dalton, 
who — as she savs — 

prefers to do 





Playgoing Pecksniffs and cinematic 
Chadbands may revile against it as sheer 
animal magnetism. But it is much more 
than that ; for its very passion is pure. 
She is a living paradox in petticoats, 
whose actions on and off the stage can 
express anything- from the humor of a 
Rabelais to the sublime tragedy of a 

Her personality is international. It 
combines the joyous exuberance of 
America with the sensuous mysticism of 
Egypt ; the romantic abandonment of the 
Russian with the good-humored mimicry 
of the Parisian gamin. 

The Daltcn Delilah may be described 
as anything from "a queen of beauty'' to 
"a good sort." I shall always think of 
her as "my chum Cleopatra." 

On the stage she can be — and gener- 
ally has to be — the incarnation of evil ; 
off the stage, she is the living embodi- 
ment of good-nature and good-fellow- 
ship. On the stage, "Dorothea" is not 
dignified enough to express her diabolic 
queenliness ; off the stage, she is known 
by every one as "Dot." Such, in a word, 
is the difference between the art and the 
personality of Dorothy Dalton. 

"My chum Cleopatra" was born on the 
22d of September, 1893. Chicago claims 
the modern Cleopatra as its birthplace, 

back of a horse. To 
make good in fif- 
teen minutes after 
traveling fifteen 
hours is, to her 
original way of 
thinking, an exagger- 
ated pleasure ; so that 
while she looks back 
on her Orpheum tour with the pleasure 
inseparable from hard-earned success, 
she has pleasanter recollections. 

During Miss Dalton's varied adven- 
tures in stationary stock, and in vagari- 
ous vaudeville, the exodus from the 
Palestine of the playhouses to the Mecca 
of the movies had begun. Athletic and 
ambitious, Mistress Dorothy Dalton was 
not slow to appreciate the lure of more 
salary and sunshine. 

Ever intent on doing big things, she 
determined to conquer the World, which 
was just then in process of creation. 
Feeling that this World — like its prede- 
cessor — seemed incomplete without an- 
other Eve, they gave the spare rib to 
Dorothy Dalton, who made her screen 
debut in their first production, "Across 
the Pacific." 

But Ince, the Inevitable, had got his 
ubiquitous optics on the versatile and 
beautiful young actress, and it was not 
long, you may be sure, before Dorothy 
Dalton was given her first "reel chance" 
in the Kay-Bee Triangle feature, "The 
Disciple." That was nearly two years 
ago, since which time Ince's (Kay-Bee) 
productions have come to be recognized 
not only as the apex of the Triangle, but 
of all other productions. 
With that of the Ince-Triangle features, 



the reputation of Dorothy Dalton rose 
with dynamic regularity and force. Her 
favorite parts, she tells me, were those 
she played with H. B. Warner in the 
superb Ince-Triangle production of "The 
Raiders," the title role of "The Jungle 
Child," and that of the dance-hall singer 
in "A Gamble of Souls." Other striking 
characterizations in Ince-Triang4e fea- 
tures include such varied leading roles 
as those of Tecaloti in "The Captive 
God," Queen Anne in "D'Artagnan," 
"Civilization's Child," and the vampire- 
artist of "The Female of the Species," in 
which you will see her as a veritable vol- 
cano of voluptuous beauty, covered by a 
kaleidoscope of costumes, from which 
pour forth a stream of sensuousness and 
a cataract of cruelty that meet in a veri- 
table whirlpool of wanton wickedness and 
subtle seductiveness. 
Her Gloria Marley 
a soul-de- 

stroying artist, clad in the chimerical 
costumes of super-civilization. And, 
ye "penates" of Paris and fairies of 
Fifth Avenue, what costumes ! First she 
will appear in a "pousse cafe" from Pa- 
quin, the effect of which (even on the 
screen) is more intoxicating than the 
liqueur. Each succeeding gown is more 
ravishing and (whisper this not to a red- 
flannel-union-suited censor) more of a 
"revelation" than the one before it. In- 
deed, after the fourth or fifth change of 
costume, one wonders how many more it 
will take to leave no change to make. 

Her personality inflames the imagina- 
tion and fearlessly challenges the crudest 
criticism, but — like her acting — it flames 
thru the film as irresistibly as a prairie 
fire. But in all its artistic abandonment, 
there is some subtle appeal in her acting 
that baffles the bilious-minded and stran- 
gles the scandalous. It is more than the 
beauty and purity of unforced and un- 
restrained womanliness. It has the con- 
cealed charm of the girl, who radiates 
health and humor, and whose personality 
is as full of passionate purity as her 
acting is of pure passion. 

In these days of middle-class medi- 
ocrity, one should return thanks for any- 
thing unusual. The dual personality of 
Dorothy Dalton on the screen and in the 
street is surely the apotheosis of the 

In private life Miss Dalton presents 
the same curious complexity of character 
which her versatility in expression cre- 
ates on the screen. There is "Dot" Dal- 
ton the athlete, and Dorothy Dalton the 
student; "Dot" the fun-maker, and Dor- 
othy the philosopher. 
You never know 
w h o m 





you are going to find. I doubt if she 
knows herself. One day you will be 
whisked off to play tennis and golf with 
her. Another day you will have to ride 
or swimv In the winter you can ride and 
skate; or, if you cant, she can! Or, an- 
other day will find this distracting damo- 
zel deep in the study of Schopenhauer 
(whom she dislikes) or of Shaw (whom 
she loves). Miss Dalton talks, as she 
acts and plays, with rare intelligence and 
enthusiasm. She loves learning and has 
an unfailing sense of humor. Like all 
Virgo people, she has fine discriminating' 
power and keen judgment. Difficulties 
with her exist only to be overcome ; hope 
and ingenuity prove infallible conquerors. 
Perfect contentment is denied her only by 
her ambition and love of change. Her 
good-humor makes any other passion but 
a transitory one. Her repartee is as 
ready as her good-humor. 

During the filming of "A Gamble in 
Souls," "Dot" Dalton had to rescue 
William Desmond from a watery grave 
by dragging the half-drowned hero up 
the beach, out of the surf. The Pacific 
surf that day was running as heavy as 

"Bill," who is himself six-feet-something 
of solid manhood and approximately 180 
pounds in weight. The waves were roll- 
ing, the camera-crank was turning, and 
''Dot" was pulling her d — dest. But 
''Bill" could no more be moved than 
Ince's most heartless "heavy." 

''Go on, Dot!" roared Director Ed- 
wards. "Pull, girl, pull! Pretend he's 
heavy!" he added, with true Edwardian 
satire, to the struggling actress, knee- 
deep in sand and surf. 

"Yes!" coughed the dauntless Delilah, 
as another desperate pull landed her in 
the water on her back. "I know, Walter ; 
you want me — to — pretend it's WET!" 

"Pretend it's good!" has since become 
a slogan at Culver City, with which to 
taunt any director who is not satisfied 
with an actor's effort. It gives the key- 
note to the cheerful camaraderie which 
exists among all Ince players, and 
which inspires all the work at the beauti- 
ful Culver City studios with a spirit that 
is unique. And, in that general spirit of 
joyousness and good-fellowship, none 
enjoys or gives out more than — Dorothy 




How I Got In 

A Department in Which Leading Players Tell of Their Beginnings 
and First Ventures on the Screen 

This series of articles began in the last issue of 
this magazine and contained articles by Marguerite 
Clark, Alice Joyce and Earle Foxe. Our 
readers will hear from many other distin- 
guished players in following issues of the 
magazine. Those who are interested in 
knowing how these famous people got in 
the pictures should read every article. 
They not only tell how they got in, but 
they tell of their first impressions of the 
camera. They suggest improvements in 
Motion Pictures and they give valuable ad- 
vice to photoplay aspirants. Each experience 
is different and each one is told in a different 
way. Individuality is the keynote of these ar- 
ticles. As a rule, they do not encourage or 
discourage. They simply give dependable 
information that applies to his or her 
individual case and leave the read- 
ers to study it out for them 


When I was 
in vaude 
v i 1 1 e 
about six years 
ago, my friend 
Archie McAr- 
thur, of the 
Motion Pic- 
ture World, 
suggested to 
me that I 
would be a 
good type 
for work in 
pictures. I 
wasn't long 
in putting 

execution, and 
when Ed Porter 
gave me a trial 
before the camera 
in the old Rex 
Company I was 
scared to death. 
When the camera 
started clicking, all 
the stage experi- 
ence I ever had meant 
nothing in my young life. 
I was like a ship without 
a sail until I got my cam- 
era legs and regained my 
equilibrium. I was the 
lost sheep and the director 
was the shepherd in the 

first few days. There are 
man}- reasons why 1 pre- 
fer screen-playing to act- 
ing on the stage, paramount 
among them being the ad- 
vantage of health and 
financial prosperity. It- 
is the nature of the 
American nowadays to 
consider his bank-roll and 
living conditions very seriously 
so there is no use to beat about 
the bush and say I love the work 
for art's sake when the amount 
of the pay-check means what 
it does to me. The physical 
conditions of working in 
the day-time and out-of- 
doors is a consideration 
which places the pic- 
tures far and above 

; stage 
fc^ In 

i n m y 

fe P 

e o p 1 e 

k P i c - 
^ tures 



I always emphasize the necessity for dis- 
playing one's own naturalness and per- 
sonality and forgetting that one is — or is 
trying to be — an actor. Unless the ama- 
teur is a genius, he had better not try 
to act, but merely be natural. Dramatic 
training will not help him, but a certain 
physical attraction and natural personal- 
ity are necessary to make a success on the 
screen. Usually, dramatic ability is not 
especially desired. It is the new and 
refreshing in personal appeal or attract- 
iveness which the producers try to find 
and exploit. 

Many who want to get into pictures 
base their desires on the big salary lure, 
but they seldom stop to think that com- 
paratively few are really getting big 
money out of the business. It is a 
notorious fact that the money comes 
easily and then goes the same way. The 
life or popularity of a film star is short 
at the best, and the actors had better put 
their money away in the bank. Some 
day — all too soon — they will be out of 
the public eye. It takes only a few 
months' absence from the screen to drop 
out of sight. 


I was playing in a Broadway production 
when a prominent producer saw me, 
and in a few weeks I found myself, 
to my great surprise, before the camera. 
As for my "first impressions," I never felt 
so awkward on the stage as I did before 
the camera. An audience, as a rule — 
unless one is too bad — looks friendly, but 
the camera appears anything but friendly. 
However, I tried to compromise, as a 
wise person should always do with an 
enemy, and the camera and I became 

Being asked which I like better — stage 
or photoplay — is like being asked "Which 
do you like better — pie or cake?" One 
is as good as the other and equally to be 

desired, so I like them both. If I should 
make a choice, I am sure it wouldn't hold 
overnight ; so, vou see, it's just about 

I would not suggest any improvements 
in Motion Pictures. That is not my 
place. My business is to get the very 
most out of the part assigned me, to do 
it the best I can. It is the public's busi- 
ness to suggest the improvements and the 
producer's to carry them out as far as 
best and practicable — not the actors'. 

And about photoplay "aspirers" I say, 
first — Be sure you have the talent ; then 
go after the producers and stick until 
you get a hearing, then develop your 
talent as quickly as you can. 


How did I come to go into pictures? 
I may as well tell the truth and 
say, "Because I saw possibilities of 
making money that could not be made 
on the stage, no matter what one's draw- 
ing powers might be." It will readily be 
seen that the money began to pour in 
right away when, as a first move, I joined 
the Keystone Company and worked on 
the Keystone police force for $3.00 per 
day. But I had made up my mind to 
get into pictures and would have taken 
that first job had the pay been three a 
month. I didn't mind the small pay, for 
I figured that it was my schooling. I learnt 
a great deal by close observation, and was 
never afraid to ask, "Why was it done ?" 
About the camera, I never gave it a 

thought. A laugh is a laugh, whether 
in front of a camera or on the stage. 
There is no difference. My one thought 
in working in front of the camera is to 
keep things jumping and not let the 
action lag. 

Personally, and speaking of the work 
itself, I like the stage better than photo- 
play, but principally because I am lazy. 
On the stage I learnt my part and re- 
hearsed it. When the show opened, my 
worry was over for a year or longer. A 
Moving Picture studio is no playground. 
When I am working in pictures there is 
not a moment of the day that my mind 
is not on the picture I am making, and 
it is very hard — especially for a lazy man 
— to keep it up continually. But there 



and having a 


are compensations 

manent home is the greatest one. 

As to improvements in Motion Pic- 
tures, I have nothing to suggest, only 
better pictures. Pictures are compara- 
tively new, and, like everything else, they 
will improve with age. 

I do not advise any one who has had 
no stage experience to go into pictures. 
For, except in rare cases, if they have 
not this training and experience, they 
will find themselves at the bottom of a 

loner hill, and verv 


few get to the 


got in almost before I knew it. 
years ago I had concluded a 
and was in New 
introduced me to 
Harry McRae Webster, then a 
"scout," so to speak, for Es- 
sanay. I was inclined to laugh 
at the idea of entering pic- 
tures, but an old friend, Au- 
brey Boucicault, said, "Bryant, 
within a few years every star 
on the stage is going to be fall- 

York arranging for another 

ing over his head to get 

the pictures." So I decided to 
get in while the getting was good, 
accepted Mr: Webster's offer, and 
a month later was making my 
debut before the camera. 

I never had a bad case 
of stage- fright on the 
speaking-stage, but a 
never in all my experi- M 
ence did I have such IS 
nervous tension as 
when I first faced 
the camera. It 
is indescribable 
and was ter- 
rible while it 
lasted, but 
it passed 
off before 
the first 
picture was 
filmed, and that 
was the end of it 

So long as pic- 
tures are being produced ( which will be 
always) I shall not consider returning 
to the stage. 

The ban of disapproval formerly laid 
upon the photoplay by the legitimate 
stage no longer exists. It is now recog- 
nized as one of the fine arts and has a 
lure all its own. 

Six The field for development of one's 

stage talent is far greater in pictures and 
the screen offers a much better 
opportunity for a more intimate 
following. Then, too, the 
work is not so monotonous 
as that upon the stage — the 
same thing night after 
night, week after week, 
month after month. With 
each picture finished, some- 
thing different is awaiting 
the company. 
The Motion Picture business 
could be greatly improved 
by fewer productions and 
better ones. Good stories 
are sadly lacking, and 
in many cases the 
stars would be more 

pleasing* if the y 
were better fitted 
to their parts. 
I seldom encour- 
age an amateur 
to enter pictures. 
I believe that 
the field is al- 
ready crowded, 
and, with few 
exceptions, the 
people with proven 
box-office value are 
the onlv ones who get 


the big parts. Still, I 
never fail to add to my 
answers to such aspirants 
that if they are capable 
of limitless patience and courage and are 
not afraid of hard work and discourage- 
ments — there is always room at the 

But, after climbing the ladder to fame, 
it is another thing to stay there. It is 
one thing to get to the top ; it takes grit 
to stick. 





After mounting the entire page on cardboard, cut out the different parts, being careful to follow the outline closely. 
After the different parts are cut out, fit them together and you will have the head of a popular film star 


The Limerick Love-Test — Try It ! 

Any OH Nut Can Sing to You or Cuddle Some When Spooning— 
But Make Him Write You a Limerick ! 

IN the good old formal courtship days of Grandmother Dear, "lounge lizards" and 
"tango leopards" hadn't been admitted to the human zoo. Could he sing like a 
calliope or dance like a fay, Grandmother Dear's lover stood no chance if lie 
couldn't write her a pretty valentine. Valentines were all hand-written, composed by 
the lovers themselves and dedicated to their sweethearts. If you are a maiden and your 
gallant says witty things to you, put his brains and his sentiments to the test— make 
him write you a witty Limerick. If he survives this, he's yours ! 

All the world loves a lover, and the screen lovers are the most gallant belles and 
beaux of all. Each month we offer $10 in prizes ($5, $2, $1, $1 and $1) for the neat- 
est Limerick dedicated to the players. Those who have passed the love-test this month 
are: Frank Meulendyke, Fred Ziemer, Thomas Finnerty, J. W. Carden and Lester C. 


"/"Mi, the love-letters long that I've car- 

vJ ried ! 
And the indiscreet questions I've parried! 
But I still can give thanks — ■ 
(Ladies, close up the ranks !) 
Thank the Lord, Mr. Reid, that you're 
married !" 

Katherine Harrison. 
18 W. 10th St., New York City. 


A romantic young person named Belle 
Once saw Douglas Fairbanks and 
She said: "If he goes 
To conquer our foes, 

How could war be as awful as- what 

Sherman said it was?" 

Thomas Finnerty. 
73 S. 2d St., Brooklyn, N. Y. 



HPhere was once a grouch in Ken-tuck-et, 
■*• Who would sour a lemonade bucket ! 
And he went to a show, 
And saw Charlie sling dough ! 

And his laugh was so catchin' I tuk-it ! 

Gladys E. Smiley. 
206 E. Tremont Ave., N. Y. City. 


If in life you would lengthen your stay 
And arrest the grim specter "Passe," 
Then enjoy a snort 
Watching Carlisle K-vort 
Thru a red-blooded, "huggable" play ! 
H. E. Haanel. 
Regina, Sask., Canada. 






I hear you're engaged, Mister Tony, 
And soon you'll commit matrimony 
You won "The Long Fight/' 
Some Stor(e)y all right — - 
'Taint always that reel love is phony ! 

Fred Ziemer. 
Ill College St., Buffalo, N. Y. 


There was a young lady named Sally, 
Who longed in the movies to dally ; 
She signed up to do "stunts," 
And she did them — just once — 
Now she sleeps 'neath a stone in the 
valley ! 

Frank Meulendyke. 
3635 Grand Central Terminal, N. Y. C. 


Sure, phwere is Kerrigan gone ? ? ? ? ? 
He's off agin — now he's on. 
Faith th' Screen is THOT lonely 
Fer Him an' Him only. 
He's sure in rayquist, is'thot Mon ! ! ! ! ! 
Mrs. Eleanor H. Berceau. 
3435 W. Chicago Ave., Chicago, 111. 


If I were a soldier at Circe, 
And was granted my own modest 
I'd hope to be shot 
And brought to a cot 
Where sweet Mary Charleson was nurse ! 
Lester C. Willard. 
42 Herriot St., Yonkers, N. Y. 


Here's to dear Alan Hale, 
He has caught us all in a gale. 
If him I could get 
And — keep him till yet, 
Well — wouldn't the girlies turn pale? 

Lillian Cross. 
375 Biltmore Ave., Asheville, N. C. 


A young fellow whose thought-dome 
was murky 
Once remarked, with a smile that was 
"Could I wed every queen 
That I love on the screen, 
I could run several harems in Turkev !" 

J. W. Carden. 
527 E. Martin St., Raleigh, N. C 



HY, "BUCK"! 
e "Art" from Kenosha or Tampa. 

On Fame's Stampin' Grounds he's no 
campa ; 
His live, wholesome "Buck" 
Is the real Western truck, 
And his looks his career cannot hampa ! 
Mabel Brown Sherard. 
Belton, South Carolina. 


(£>^ ^P^Heiz ^mrsou 


^— r\ 


Gaze upon the picture which 
ornaments this article. 
Is there not there 
the spirit of old Egypt 
— the Egypt of the 
Pharaohs a n d the 
building of the Pyr- 
amids and the 
Sphinx — the Egypt 
of Cleopatra? 
Note the Semitic 
profile. You may 
see such profiles 
in bas-relief on 
the temples of 
Karnak, on the 
tombs of ancient 
Egyptian kings. 
Note the heavy 
hair concealing 
the ears, the 
asp upheld 
in hand, the 
clinging draper- 
ies. Thus might 
a priestess of Isis 
have sat and 
looked, yet here 
is not the dust of 
vanished years, 
but Corenne 
Grant, who plays 
the title role in 
Pathe's serial, 
'The Neglected 
Wife," produced 
in the Balboa studios 
in California. 

Miss Grant herself posed this picture herewith, just as she 
and the others which are published posing all her pictures. 



insists upon 
Hers was the 



Egyptian idea, and the costumes she 
made and designed herself. The idea did 
not come to her idly — she but gave ex- 
pression to the ruling thought of her life, 
for Miss Grant is a Theosophist, a be- 
liever in reincarnation, and is satisfied 
that in her dwells the soul of a one- 
time priestess of Isis, who, with Osi- 
ris, was a pow- 
erful deity o f 
that Egypt that 
has been dead 
these two thou- 
sand years. 

Miss Grant is 
different, in 
every way dif- 
ferent. Differ- 
ent i n appear- 
ance, different 
in dress, differ- 
ent in her man- 
ner of thought 
and different in 
her way of liv- 
ing. She is in- 
teresting with a 
capital I. 

She has stud- 
ied Christian 
Science and 
theology, the 
latter of which 
in particular is, 
to say the least, 
a rather un- 
usual subject 
for a photo- 
player to pursue. 
Where others 
study their press 
notices, the in- 
come-tax law or 
new w ays of 
spending their 
money, Miss 
Grant studies 
the literature of 

the soul, dissertations upon the power of 
thought and man's spiritual past and 
present. On these subjects she is becom- 
ing an authority. 

It may be remembered that re- 
cently the intellectual world was very 
much interested in a story which was 
widely published to the effect that soon 

a great figure would come out of the 
North, who would encompass the end of 
the war which is convulsing civilization, 
who would dominate the affairs of the 
world, and eventually would bring about 
an era of better things for all mankind. 
The story even intimated that this man 
of wonderful personality and colossal 


will would be a reincarnation of Julius 
Caesar himself. The story was less spe- 
cific as to who this man would be, but in 
some versions it stated that the man had 
already made his appearance and would 
probably be a journalist. It was more 
than hinted that Lord Northcliffe, the 
famous English journalist, might pos- 



sibly be the man. Miss Grant, when 
asked her opinion upon this matter, re- 
plied with decision that Theosophists 
knew positively that this world-man 
would appear and that he really would 
be the reincarnation of Julius Caesar. 
She refused to commit herself as to 
whether Lord Northcliffe was to be the 
man. Naturally the thought would sug- 
gest itself that if this were true there 
might be among the famous men of the 
world reincarnations of the great men 
of the past, so she was asked who 
President Wilson and Kaiser 
AYilhelm were in for- 
mer life. In her reply 
Miss Grant made the 
statement that Na- 
poleon was the re- 
incarnation o f 
Hannibal, the 
great Cartha- 
ginian general, 
and that Brit- 
ain's grand 
old man, 
W i 1 1 i a m 
Ewart Glad- 
stone, w a s 
the reincarna- 
tion o f Cicero, 
the fam- 

identity of the Kaiser he could find out 
by studying that portion of theology 
which tells the story of 
the lost Atlantis. Fur- 
ther q u e sti.oning 
elicited the informa- 
tion v that 

ancient Rome. As to Kaiser Wilhelm, 
she parried the question by saying that 
if the writer desired to know the soul 


reincarnation of some At- 
lantian emperor. 

Miss Grant was then 
asked if she is the reincarnation of some 
historic personality. 

''I certainly am," she replied. "My 
spiritual self once resided in the body 
of one Mep-tis, a priestess of Isis, con- 
fidante of the Pharaoh, a woman of parts 
and power in her day." 

Outside the door of the office in 
which we were talking, stage-carpenters 



hammered and shouted and made a pro- 
digious racket. One could hear the click 
of a turning camera, could hear the 
staccato directions of a director laboring 
with his company. In the next office a 
typewriting machine clattered and rattled 
like a miniature machine-gun, yet in the 
interviewer's mind came a vision of 
Egypt's burning sands, of. long lines of 
camels, heavily laden, disappearing into 
a purple sunset, great troops of slaves 
by the banks of the muddy Nile, and in a 
huge and cheerless temple wrought of 
stupendous blocks, a sacred fire sending 
a tiny blue thread of smoke toward the 
vault of heaven, and a solemn and stately 
priestess with arms upraised chanting the 
greatness of Isis. And the face of the 
priestess was that of Corenne Grant, 
screen star of the twentieth century ! It 
was uncanny, to say the least, especially 
while looking into the lady's eyes, which 
are large, dark and of a certain mystic 

Briefly, the belief of the Theosophists 
is that a soul returns to earth again and 
again in a certain cycle, provided it needs 
to learn and experience the special les- 
sons necessary to become a part of a 
permanent ego which is perfection. 

Miss Grant's birthplace was in Xew 
Orleans, and she believes that her ances- 
tral lines include French, Spanish, Eng- 
lish and Jewish blood. She is twenty- 
four years old, five feet four inches in 
height, weighs one hundred and thirty- 
three pounds, has coal-black hair of the 
indescribable blue-black kind that you 
sometimes see on French-Canadian girls, 
brown eyes so dark they are almost black, 
olive complexion, and is round, rosy, and 
at times so youthful-appearing as to be al- 
most infantile. Born of a Christian fam- 
ily and brought up according to the 

tenets of the church, she has always been 
a truth-seeker, and has not believed be- 
cause she has been told. She has pre- 
ferred to find her own way, and so 
gravitated to the study of Theosophy. 
When a mere child she began the study 
of the early Grecian philosophy, and later 
extended this study to a research into the 
mysteries of Egyptian religion. She has 
her decided beliefs, but is fair in her 
views — granting to each person the right 
to his own beliefs. 

Her influence upon her associates is 
very wholesome. Everybody at the 
studios likes her and goes to her for 
sympathy in time of trouble. "A clean 
mind, a clean conscience, and a clean 
body" are more than mere words to her. 
Criticism of others is repugnant to her, 
for to her we are all children of the same 

It is so easy to talk to her, she is so 
interesting, that the time slipped away 
rapidly and unnoticed. It was sunset 
as I turned to go. As I went out of the 
door I gasped. The pounding of the car- 
penters' hammers was answered. At the 
end of the yard rose against the glowing 
western sky a huge set, the front of an 
Egyptian temple. The great columns of 
stone had been successfully imitated. In 
front of the temple was an altar of stone 
which needed only the lazy spiral of 
smoke to complete its realism. Coming 
after that conversation, the effect was 
unbelievably impressive and ghostly. 
Miss Grant read my thoughts at a 
glance. She picked up a silken wrapper 
from a chair, draped it around her and, 
walking to the altar, stood behind it 
with arms upraised and eyes turned 
to the sky. The picture was complete. 
The priestess of Isis was claiming her 


The Story of Picture Books 


Egyptian boys, in ancient ages, 
Read from picture-books with pages 
Made of stone and carved in signs — 
Circles, dashes, dots and lines. 
Toiling monks, in later times, 
Made the children's picture-rhymes, 
Patiently, on parchment rolls, 
Illuminating golden scrolls. 
When printing-presses came in use 

Boys and girls read "Mother Goose'"; 
Then simple wood-cuts led the way 
To picture books with colors gay. 
Oh, modern child, look back and see 
That all "the best is yet to be"; 
Your newest story's just begun — 
You're reading only Chapter One — 
And all the boys and girls who look 
Can own a Moving Picture book! 






a time 


ing, yes, even 

young man of 

who came from 

had considerable 

chosen calling, 

two unpronounceable 

readable name, and 

fellow and not the 

Once upon 
lived an 
1 o o 
twenty -nine, 
Indiana and 
success i n h i s 
and who added 
"e's" to his already 
he was a sociable 
least bit affected. 

No, he is not a mounted specimen in 
the Central Park museum, as one might 
at first suspect, for he is a real live Mo- 
tion Picture actor. 

Do you remember "Silver Spurs/' the 
lovable bandit that jimmied his way into 
your heart thru "The Love Mask"? Of 
course, and you recollect that young", 



mustached villain in "Public Opinion" 
and that dreadfully susceptible young 
architect, Richard Leigh, in "The Ashes 
of Embers." You saw that same young 
man, with the terrible polar-bear em- 
brace, just a short time ago in "Panthea." 
Earle Foxe is the prisoner. 

I caught him just as he was being held 
up in front of the studio, in New York. 
Do not worry ; it was only a taxi-cab 
driver, who had been educated in a 
2X2 = 6 school, and who swore that 
there were only one thousand feet in a 

A letter of "This will introduce, etc.," 
I did not have, for it was not necessary, 
knowing Earle fairly well — at least well 
enough to beg a cigaret when my supply 
has eloped, without incurring his wrath 
and displeasure. In fact, I could inscribe 
a Born-Married-Hobby interview about 
him without leaving my room. 

A friend — or a person whom I consid- 
ered a friend up to that time — however, 
swore that Earle Foxe was a conceited 
cad, or he would not carry around two 
superfluous "e's." 


said I, 
"why do 
you write 
y our n a m e 
E-a-r-1-e F-o 
It sounds just a 
little bit affected." 
had never given 
thought," pondered 
"I believe you are 
tho. But you know 
would hate to he con- 
conceited. I would 

change my whole name. 

it a 
that I 
s i d e r e d 

"I'll tell you what," he continued. 
"The next program that appears with my 
name will be printed without extra 'e's/ 
and if there is any difference I will be 
just plain Earl Fox." 

Now, fans, please do not think that this 
is a hoax to fill up space and make pub- 
licity for Earle Foxe, for it is not. Those 


of you that attended the Broadway The- 
ater in Xew York, when "The Ashes of 
Embers" was being shown, and received 
a program, please look it over. The 
character of Richard Leigh was played 
by Earl Fox, devoid of all flourishes. 

No one seemed to notice the difference 
— at least Earle has received no letters 
concerning the change — so he has de- 
cided to reassume his inherited name. 

Earle, to tell a little family history, is 
married to a girl he formerly addressed 
as Celia Stanton, and very happily, if I 
am any judge. He used to be a Broad- 
way star before he Ruth Law-ed into the 
pictures, and it is possible that he will re- 
turn to the stage the coming season. In 
regard to acting, I believe he has the 
proper spirit, for he says : 

"I do not care to play the lead continu- 
ally. Too much starring is apt to spoil 
the star. I like to play the role that re- 
quires the most application and has op- 
portunity to use originality." 

Earle Foxe has proved his innocence 
of affectation to my satisfaction and can 
burden his name with as many '"e's" as he 
wishes. What is your opinion, devotees? 

A Kiss for Susie 



This story was written from the scenario by 

Susie Nolan turned the eggs deftly in 
the frying-pan, whipped a pan of 
goldy-brown biscuits out of the oven 
and peered into a covered saucepan, her 
brows knit into a frown of intense con- 
traction. And ever and anon her song 
rang out piercingly sweet, joyous as a 
robin in spite of the somewhat lugubri- 
ous words : 

"Ha-ark from 

the too-umbs, a do-oleful 

In the next room a creak of bed- 
springs and two heavy thuds, followed 
by loud, yawning sounds and groans of 
reluctance, announced that Nolan senior 
had risen to another day of toil as boss 
bricklayer. Susie set the plate of bis- 


cuits on the table, rilled the cortee-cup 
and went to the door on the opposite side 
of the room. 

"Lizzie!" she called. "lAz-zie! It's 
'most half-past! You up?" 

Xo response. Susie looked at *the 
clock imploringly. Perhaps it was a lit- 
tle fast ; but no, she had set it only last 
night by Policeman O'Brien's great silver 
watch. Small chin set determinedly, she 
flung open the door and gave the hud- 
dled figure on the bed a smart shake. 

''Lizzie, wake up ! You'll get another 
call-down if you're late. Come on; I got 
somepin special for breakfast. Lizzie!" 

"Uh-huh !" responded her sister, and 
rose to a sitting posture, flinging her 
round arms above her curl-papered head. 



A creature all curves and radiant com- 
plexion was Lizzie. Looking at her now 
in her cheap, pink-cotton night-dress, 
with the coarse lace about the neck and 
sleeves, Susie thought, honestly, that 
there could be few more beautiful crea- 
tures in the world. 

''Gee ! I hate gettin' up 'most as much 
as I hate goin' to bed!" sighed Lizzie. 
''I wish I was rich an' I'd sleep till noon 
an' eat breakfast on a tray in bed, like in 
novels. Oh, hum!" 

"Was the Gasfitters' Ball nice?" 
asked Susie, wistfully. ''You looked 
grand in that cerese crepe-de-chine, an' 
no one'd ever guess you got it second- 
hand on Sixt' Av'noo." 

Lizzie was unwinding the curl-papers. 
"Sure it was all right," she said, with the 
indifference of a recognized belle toward 
society functions. "I met a swell feller, 
clerk at the men's wares in Macey's. I 
danced s i x dances 
with him ; h e fox- 
trots swell." 

As she went from 
stove to table, and 
table to stove, finish- 
ing t h e breakfast 
preparations, Susie 
reflected upon Liz- 
zie's words. Was a 
man desirable be- 
cause he dressed and fox-trotted well, or 
was there some other standard by which 
to measure his worth ? . Beneath her dark 
curls, Susie's seventeen-year-old brain 
pondered the question shrewdly. Not 
for the world would she have let Lizzie 
or her father or her brother Jim suspect 
that she was romantic or that she kept a 
cheap, ten-cent-store picture of Sir Gala- 
had hidden under the rolls of stockings 
and underwear in her bureau drawer. 

"They'd laugh at me an' call me toney 
and stuck-up," she reflected, wisely ; ''but 
I dont care ! If I ever keep comp'ny with 
anybody, it's goin' to be a real gentleman 
like Sir Gala-/iad/" 

Breakfast in the Nolan household was 
always a hurried meal, punctuated with 
Jim's sneers at the food, the father's 
noisy gulping of his coffee and Lizzie's 
fretting. This morning was no exception. 

"I think I'll hire a room on a classy 
street an' move my things out o' this 

Cast of characters of this play as pro- 
duced by the Paramount Company: 

Susie Nolan Vivian Martin 

Phil Burnam Tom Forman 

Schwartz John Burton 

Jim Nolan, Jr Jack Xelson 

Lizzie Nolan Pauline Perry 

Jim Nolan, Sr Chris Lynton 

dump," Jim said, largely, as he buttered 
his third biscuit. It was a favorite 
threat, made with the ostensible purpose 
of putting the family into its proper 
place. "A c'lector for a high-toned firm 
like Bonner & Weeks, dry goods, cant 
hardly afford to let it be known he lives 
on Grand Street." 

"Every day I'm scairt blue when I 
think, 'S'pose Mr. Greenbaum, at the 
office, should find out pa is a brick- 
layer?'' Lizzie tossed her elaborate 
curls loftily. The elder Nolan ate on, 
stolidly. He was used to his children's 
opinions, and took an entirely humble 
view of his own merits, but Susie flamed 
with red wrath. 

"You'd ought to be ashamed o' your- 
self, talkin' so, Lizzie Nolan!" she de- 
clared, vigorously ; "us that owes every- 
thing to bricks, goin' back on 'em now ! 
I guess you've forgot pa aint an ordinary 
bricklayer, either! 
There aint m any 
at Burnam & 
Schwartz's who 
earns six dollars a 
day !" 

"You make me 
tired !" Lizzie 
pushed back her 
kitchen chair w i t h 
languid grace and 
crossed to the mirror above the sink to 
arrange her hat upon the elaborate struc- 
ture of her hair. "It's lucky some folks 
in this family has a little pride an' wants 
to be somebody. I s'pose you'll marry 
another bricklayer an' spend your life in 
a three-room tenement, with two calico 
wrappers a year for clo'es. Not for 
mine! I'm goin' to marry a swell an' 
live on Fourteenth Street — watch me !" 

She turned from the mirror, picked up 
an imitation velvet stole, sleazy silk 
gloves, a tinkling bead-bag and swished 
to the door, followed by Jim. On the 
edge of departure, she turned and swept 
her small sister from head to foot with a 
pitying stare. 

"You got it easy, Sue," she sniffed. 
"You should talk — anybody that hasn't 
anything to do but sit around the house 
all day ! What do you know about work, 
I'd like to know?" 

Left alone, Susie cleared away the 



breakfast-dishes, tidied up the rooms and 
set the flat-irons on the stove. As she 
toiled over the ruffles and flounces of Liz- 
zie's petticoats and cheaply elaborate 
waists, she had no resentment in her 
heart. She did not reflect that she had 
been up since five, getting the Nolan day 
started. She did all the washing, mend- 
ing and cooking for the family and might 
properly be credited with a certain 
amount of work, after all. Susie was 
very humble about her own merits and 
very fond of her family's abilities 
considered Lizzie as stylish 
as one of the ladies on 
the covers of a maga- 
zine ; s h 
Jim daz- 
z 1 i n g 


half-way to his mouth, he was staring 
after the little figure flitting over the 
brick-heaps with the ease of a stray sun- 
beam. He was a handsome, clean-cut fel- 
low, who wore his blue workman's blouse 
and mortar-splashed overalls with a cer- 
tain air that had already won him the 
nickname of "Dude" among the men. 

"The daughter of a bricklayer, that 
girl?'' he seemed to be thinking aloud. 
"With that shaped head and that car- 
riage, she might be a little aristocrat. 
There's blood in it — race. Some of the 
working class could trace 
their lines back to 
Celtic kings o r 
Gaelic no- 
tora-ii.. oilitv." 

'you'd ought to be ashamed o yourself, talkix' SO, LIZZIE XOLAX 

and incomparably clever, and she took 
great pride in all their "jobs." 

The ironing finished, she poured the 
coffee that was standing on the back of 
the stove into a tin pail, placed slices of 
bread and bologna, two doughnuts and 
a banana into another pail and set out 
thru the dazzling noon glare. 

The employees of Burnam & Schwartz 
nodded to her as she passed. 

"Nolan's gal," one of them explained 
to his neighbor, who was evidently a new- 
comer ; "brings tn' oV man his grub reg'- 
lar. Little bit o' orl right, she is, too!" 

The young man who received the ex- 
planation did not reply. Sandwich raised 

His neighbor stared at him curiously, 
drained his beer at one draught and 
wiped his mouth with the back of a hairy 

'She aint nobody!" he growled, con- 
temptuously. "She aint no garlic nobil- 
ity ! Garn ! — she's only Nolan's gal !" 

Swinging her empty pails gaily, Susie 
left her father as the striking of the city 
clocks summoned him back to work. She 
stood a moment, watching the men toiling 
up the ladders with their hods of bricks 
and mortar, and a muffled groan brought 
her glance quickly to the tall young 
workman at her side. He had put down 
the hod and was staring ruefully at his 



hands, swollen, crimson, bleeding in half- 
a-dozen places. 

"Oh !" cried Susie, woefully ; "oh, your 
poor hands !" 

Then she flushed all over her small 
face as the young man turned his blue 
gaze on her. 

"They do look a bit messy. 
dont they?" he smiled 
"You see, I'm new 
to this job. The 
— ah — last 
work I 
did was 

might say so," he nodded. "It was con- 
nected with books, certainly." He 
straightened himself, looking very grim 
and tall. "It wasn't a man-size job, so I 
— chucked it. I guess it wont hurt my 
hands to get a little calloused from honest 

"No," agreed Susie, simply ;• "brick- 
layin' isn't so easy, 
maybe, but you 

H fc\^ get awful 

good pay. 
My fa- 
ther" — 
her face 
i n to 

'bricklayin isn't so easy, maybe, but you get awful good pay 

more ladylike, so to speak the real truth !" 
Susie gazed up at him, the small heart 
under the blue gingham dress beating a 
mad tattoo. He looked — yes, he certainly 
did look like the picture in her bureau 

"Was you a bookkeeper?" she queried, 
timidly — it was a secret theory of hers 
that Sir Galahad had been a bookkeeper. 
"You look like a friend o' mine who is 

The young man smiled. "Well, you 

— "he's a boss layer now ; he makes six 
dollars a day!" 

She turned to go, then looked over her 
shoulder, shyly. 

"I — I've got some salve at home that 
would help your hands," she returned. 
"I'll send it by pa tomorrow morning." 

She fled, breathlessly, before he could 
thank her, but not before she had caught 
the look in his eyes, a look that she had 
never seen in any man's eyes before. On 
the way home she did an unusual thing. 



She stopped before a plate-glass window 
and examined her dim reflection wist- 
fully — dark hair, pointed chin, child fig- 
ure, all slim lines and sweet, slight 

"I wish," she sighed, humbly, thinking 
of Lizzie's dazzling peroxide curls and 
perfect thirty-eight measurements — "I 
wish I were beautiful!" 

For some reason which she could not 
quite explain to herself, she gave her 
father his dinner-pail when he set out to 
work in the week following. And so it 
was several days before she saw the Gal- 
ahad man again. Then, as she stood in 
line to draw her father's pay envelope, 
she felt her heart begin to flutter and 
looked up to find the young man standing 
beside her, hat in hand. 

"That salve you sent saved my life !" 
he said, displaying his hardened palms. 
"I've been hoping to have a chance to 
thank you for it, but you didn't come 

Then he had noticed — he had looked 
for her ! Susie looked away, perversely 
refusing to meet his eyes. "I — I've been 
pretty busy." 

"But cold coffee is so bad for your 
father," suggested the young man, art- 
fully. "Really, I think he's showing the 
difference already." 

They had- reached the window and a 
hand pushed the two envelopes out to- 
gether. A secret glance and the name 
written across his told her his name was 
Philip Burns. They walked away from 
the window together in silence. But at 
the door he turned to her. 

T wonder" — his deep voice blundered 
over the words — "I wonder — if — I might 
— come to see you some evening — make a 
call, you know " 

Susie gasped. Eyes shining, hands 
clasped to her breast, she looked up at 
him incredulously. 

"Oh !" she cried, awed at this sudden 
acquisition of importance — "oh! but I'm 
only seventeen! Maybe you thought I 
was a real young lady? I could put up 
my hair and let down my skirts " 

She held her breath for his reply. "I 
dont want to call on a real young lady," 
Philip Burns assured her, smiling ; "I 
want to call on you. I hope you're going 
to let me come." 

After the first time, Philip came often, 
and gradually Susie's shyness melted 
away. She found herself telling him 
many things that she had only thought 
before — things that Jim would have 
jeered at and Lizzie scorned ; things that 
her father, even, could not have under- 
stood. She brought Sir Galahad out of 
his ignominious concealment under stock- 
ings and petticoats and laid him in 
Philip's hands. 

"I think — I think he must be awful 
nice," she confided, wistfully. "He's not 
a swell dresser, like Lizzie's men's fur- 
nishings feller, but he looks like a perfect 
gentleman, somehow." 

"He was a perfect gentleman," Philip 
told her, soberly. The eyes tiiat rested 
on her absorbed little face were faintly 
amused and very tender. "Some day I 
will tell you all about him, Susie — the 
stainless knight, without fear and with- 
out reproach " 

Her childish chest rose on the swell of 
her awed breath, but before she could 
speak, the boiling of the kettle called her 
to the stove. The hot lid clattered from 
her fingers to the floor. Philip stooped 
to pick it up and somehow found her 
hand instead. As naturally as the flower 
swings to the sun, her face lifted to his 
kiss. Like children, they stood abashed, 
trembling, clasping each other's hands. 

"Little Susie," said Philip, huskily, 
"dear little Susie ! I love you ! Do you 
love me?" 

"Why, yes!" she marveled; "yes, I 
guess — I — do !" 

Lizzie was openly scornful over what 
she termed "Susie's bricklayer." 

"I sh'd think you'd have more pride!" 
she jibed. "All Jim an' I are doin' to 
raise the family up, and you have to go 
draggin' it down, keepin' company with 
common trash like him !" 

"He isn't common trash!" Susie de- 
fended her lover, loyally. "I dont care 
what he does ! He could be a — a street- 
sweeper, but that wouldn't hinder him 
from bein' a real man! If he had a mil- 
lion he wouldn't be any better, Liz 
Nolan, so there !" 

"Him have a million!" laughed Lizzie, 
scornfully. "I guess you never saw a 
real swell, you little greenhorn ! Why, 
take Mr. Greenbaum, of our office, for 



instance. He's worth twenty-five thou- 
sand, they say, an' you'd know it just to 
hear him cuss the office-boy around ! No- 
body but a real swell swears that way !" 

''Well, then, I hope we'll none of us 
ever be rich!" said Susie, stoutly. "I 
guess we're more likely to go to heaven 
when we die, this way." 

She could not guess how dangerously 

near she al- 

ordered kitchen — ''we'll go into society!" 
He looked doubtfully at the bent fig- 
ure of Nolan senior, red of jaw, bristly 
of hands. "All I hope and pray," he 
spoke piously, "is that nobody finds out 
about dad. It would queer us, right in 
the beginning." 

To Susie it seemed that the whole aim 
and effort of the Nolans in the strange, 
ing days ^M H8L- 


came a week later -was as epochal 
to the Nolan family as an earth- 
quake. There was a sense of crash- 
ing in the ears of the young people 
as they sat about the bare kitchen table 
listening to their father's painful rendi- 
tion of the long legal words. Phrases 
and particulars might be hazy, but there 
was no doubting the meaning of the let- 
ter. Dennis, the uncle, who had run away 
to Australia years before, had died and 
left them ten thousand dollars as next-of- 
kin. "Ten thousand!" Lizzie began to 
sob hysterically. "Well, I know one 
thing — I'm goin' to have a pink-satin 
evenin' dress, with pearl passementerie 
trimmin, an' a rhinestone comb !" 

"We'll clear out of this hole!" — Jim 
gestured contemptuously about the neatly 

cover up the old, honest things that had 
spelled life itself to all of them and to 
assume airs and graces that fitted as un- 
comfortably as their new clothes. 

The apartment they moved into on a 
stiff, solemn street, where there were no 
hand-organs or friendly push-carts, and 
where the people did not stop to gossip, 
neighborwise, but passed each other with 
their noses in the air ; the new friends 
that Lizzie and Jim brought home with 
them, loud, flashily dressed creatures ; 
the new ways of living" — all- terrified and 
distressed the girl's soul. If it had not 
been for Philip she could hardly have 
borne her homesickness for the old, 
kindly poverty — the old, lost friends. 

"Anything over six dollars a day 
makes me feel sort o' dizzv!" she con- 



fided to him, desolately. "Lizzie and 
Jim think they're happy, but they're not, 
really. They've took to drinkin' too 
much of that there sham-pain stuff, and 
it isn't doin' them any good. An' their 

swell fr'ends laugh at em 

behind their 

backs! Oh. T wish wed never seen nor 

"Think you'll come in for a nice lii' 
shce o' our money, don' you?" he jibed. 
"Oh, yes! I see thru you, ol' man ! But 
don' you believe nossin' o' the-kind. Ain' 
go' be any d — n fortune-hunter do zish 
fam'y outer its money !" 

"Jim," Susie cried, appalled, "dont talk 
that way ! Oh, Jim — oh, 

I fer lover put 

her gently 

aside. "I 

u n d e r - 



he told 



heard o' the bad money in all our lives !" 
Philip Burns, with his cheap, ready- 
made serge suit and calloused, labor- 
stained hands, offended Lizzie's critical 
eyes more than ever, and she took every 
occasion to complain of him to Susie. 

•What'll folks think, to see a common 
laborin' man hanging round?" she in- 
quired, bitterly, of her sister. "If you've 
got to have him here, why cant you take 
him into the kitchen, where nobody'll see 
him. anyway?" 

Jim was even more outspoken in his 
disapproval. One evening, when he and 
Lizzie came home from a gay party to 
find Philip in the flamboyant drawing- 
room, he faced the young bricklayer with 
a tipsy sneer. 

"but Jim doesn't. If he thinks I care any- 
thing about money, he's wrong, absurdly 
wrong. I despise money ! When I see 
what beasts it makes of people, jackalls 
and ravening wolves, I would rather 
spend my life as a common bricklayer 
than be a millionaire!'' 

Slightly sobered by the earnestness of 
his words, Jim stared at the honest, in- 
dignant young face confronting him. 
Then he laughed scornfully. 

''Sounds hue!'' he sneered. "I sup- 
pose you'd rather carry Burnam's bricks 
than be Burnam's son, spendin' his win- 
ter at Palm Beacli an' his summer at 
Newport, eh?" 

A strange look passed over the other's 
face. He smiled quietly. 



"I would rather be a man and do a dollars which they recently inherited is 
man's work than a society fool, yes," he practically gone!''' 

Jim Nolan brought his fist down on the 
table in an aimless blow. 
"Then I tell you you 

lie !" he shouted. jfgflBk 

I tel 

Up the steep stairs that led to the old- 
fashioned office of Burnam & Schwartz, 
contractors, Susie hurried her father, 


you're a d — n liar and a fool! And I'm 
provin' it !" 

The next afternoon a little figure in a 
black coat sat in the office of the lawyer 
who handled the Nolan money affairs. 
Her eyes were swollen with weeping, and 
as she talked she clasped and unclasped 
her hands, piteously. 

"I cant bear it any longer!" Susie de- 
clared. "It's spoiling us all! Isn't there 
some way folks can lose money they dont 

The lawyer smiled a dry smile. He 
opened a ledger and consulted a page 

"My dear young lady," he told her, 
quietly, "your estimable family has al- 
ready found that way. The ten thousand 

like a small, energetic tug leading a 
heavy freight-boat. And as she went she 
chatted light-heartedly. 

"Wasn't it nice Lizzie and Jim could 
get their old jobs back? It seemed good 
to hear Liz scoldin' about gettin' up 
when I called her this morning. Now, 
dad. if they'll just take you on again, 
it'll be like old times." 

The boy in the outer office took their 
errand into the private room and re- 
turned, grinning. 

"The boss says you can come in." 

Staidly, Susie marshaled her father 
into the dim little office and faced the 
man who was bending over the desk. In 
spite of herself, her voice shook a little 
as she began. 



"If you please, Mr. Burnam & 
Schwartz," she hurried bravely, ''Jim 
Nolan, that used to be boss bricklayer for 
you, wants his job back. He's a good 
man with bricks, none better, and " 

The words died on her lips as she looked 
into the face of the man at the desk for 
the first time. Then she- went quite white 
and reached out dizzily for support in 
the sick swaying of her world. 

"Susie!" cried Philip Burns, and 
caught her in his arms. "Dear little 
Susie! Your father's job is waiting for 
him at the old pay. Dont tremble sc, 
dear; dont you understand?" 

In her eyes, lifted piteously to his, he 
read the question she could not utter, and 
his face grew very grave and tender. 

"You think it was Philip Burns, the 
bricklayer, who loved you, and not Philip 

Burnam?" he asked. "Dear, they're the 
same man, and that man loves you with 
all his heart and all his soul, world with- 
out end, amen !" 

Still she was not quite satisfied. 

"But — you're rich " 

He caught her close to him, with a 
great, boyish laugh of pure joy. '"I'm 
rich now!" he cried. "We'll spend the 
money together, sweetheart. You shall 
show me how to spend it to make people 

She -looked up into his face and saw 
there a look that she knew — the look of 
the stainless knight, without fear and 
without reproach. 

With a little sigh of content, she 
nestled closer. 

"Air. Sir Galahad," she murmured; 
"my Mr. Sir Galahad !" 



£ I 


"Backstop" Shirley Mason 

ScreenlancTs Nippy Little Ball-Player 


If Shirley Mason had been a boy he 
would have been lost to the stage, for 
he wouldn't have been an actor. He 
would have been a baseball player. 

The little McClure actress, one of the 
tiniest stars in Motion pictures, is base- 
ball mad. And it has come upon her all 
at once. 

Shirley always has liked to play 

"catch" in a casual 

w a y, and now 

and then she 

^ would go out 

to the Polo 

Grounds, in 

Xew York 

City, and 

watch the 



or the Yanks. But never was she a 
fanatic. She played just for the exercise, 
and went to the games to get the fresh 
air, more than from any love of the 

But this spring Shirley was attacked 
by the vicious baseball bug, and ever since 
she has been suffering acutely from base- 
ball fever. The attack came on the first 
warm day of spring. Shirley was work- 
ing in a McClure picture in which she 
wore old clothes. Waiting for a set to 
be completed, she drifted out behind the 
studio, where stage-hands and extra peo- 
ple were playing baseball. 

Impulsively, she jumped in and joined 
one of the teams. They put her in right 
field, where they thought she could do 
less damage than any other place. She 
hadn't been there more than a minute 




when a batter drove one 
right at her. She stuck cut 
a glove — blindly. The ba. 
hit it, glanced off and 
struck her on the fore- 
head. And Shirley crum- 
pled up in a heap, and they 
carried her to the studio. 
A dash of cold water 
put her on her feet in 
a minute, but it didn't 
take away a black i 
and blue bruise. 
There was no more 
picture-making that 
day, nor the next. 
But Shirley, indignant 
that she had been 
knocked out, that she 
had appeared weak and 
unskillful, dug up a 
baseball uniform and 
went out and got into 
the game, determined 
to master it. 

She didn't actually 
master it. But she 
has learnt as much 
about it as any girl. 
She can catch and 
throw and she is 
a fair hitter, 
using a light, 
short, fat bat 
built along the 
lines of the 
style o f archi- 
tecture, that one 
of the carpenters 
turned out for her. 

She has become a 
regular patron, when 
ever possible, at the 
Polo Grounds. She never 
asks foolish questions.' She 
has a picture of John J. 
McGraw in her dressing- 
room, flanked on each side 
by group photographs of the 
Yanks and Giants. 

She has subscribed to two 
baseball publications and is 
learning to keep score the 
way the experts do, recording- 
hits and runs and errors and 

stolen bases, and all the rest. 
On the studio team they have 
made her catcher. We'll let you 
in on a secret. Shirley doesn't 
know it, but the reason is that 
the catcher's position is the 
only one that has behind it a 
board fence, capable of stop- 
ping all missed balls. And 
as yet they haven't 
entire confidence in 
Shirley's ability t o 
stop everything that 
comes her way. 
Shirley wanted to 
be the shortstop, pre- 
senting as a qualifica- 
tion the fact that she 
was the shortest person 
on the team. She 
wouldn't stop her de- 
mands until the other 
players explained that 
the tall fellow playing 
shortstop was shorter 
than she. He had 
been in a poker game 
and was short six 
, "I pick the Giants 
Bk to win in the Na- 
\ tional League,'' 
M Shirley a n- 
\ nounces with 
all the assur- 
ance of an old- 
time baseball 
f a n. "In the 
American ? The 
Yankees, of 
''But aren't you 
loyal to your home 
town?" she was asked. 
"Y o u were born in 
Brooklyn, weren't you? Why 
dont you root for Brooklyn?" 
"Brooklyn \" she exclaimed in 
I scorn. "They never will win. 
Maybe they play good inside 
baseball and hit and field 
well, but their uniforms are 
the ugliest . things I ever 
saw I" 

Which shows she under- 
stands the game perfectly. 

Harold Lock- 
wood is not a 
mere matinee idol 

— he can fight with the 

best of them. 

The would - be 
screen hero who 
cannot fight is seriously 
handicapped. The fighter is 
popular, not only because he 
fights, but because he is a good 
actor ; for good fighting is good act- 
ing. It is not claimed that actual 

Teft'c Johnson and Ned Finle 
en- equaled. 


put up a fight seldom 



ness, and the fact that not even his 
peerless acting- can entirely blind 
us to the weakness is highly signifi- 
cant; when "The Edwin 
Booth of the Screen" 
falls short, 
m a n v 7 

One of 

"The Gi 

Even J. Warren Ker- 
rigan can fight when he 
wants to and can get 
real vicious. 

than it is to assume them 
It is a long step from femi- 
nine impersonations to 
fighting a mob of Southern 
negroes, but Reid succeeds 
in both. He makes a better 
i woman — tho admittedly a 
good-sized one — than Walt- 
hall would a herculean black- 

Reel-fights must be real. If 
there is any time in a play when 
every spectator's attention is thoroh 
alive, it is during the fight-scene ; 
and poor execution of this wi 
well-nigh ruin a play. In "The 
Spoilers" isn't it the Farnum- 
Santschi struggle that we remem- 
ber most vividly? These men 

Xorbert A. Ml 

id Miller K; W 




can fight, and they do ; it is hard 
to believe they are not in deadly 
earnest. In fact, they are, for the 
time, and this is what 
makes actual rug" 
edness indis- 
pensable to the 
m a n w h o 
would depict 
fights. A n 
actor cannot 

of the work and succeed merely because 
he has done other roles well. He must 
have careful training. Not only the par- 
ticular scene has to be perfected, 
but there should be weeks of 
training behind that. Far- 
num, K e r r i gan and 
Safitschi send men to 
the hospital, 
but it is this 
very real- 
ism that 
what thev 



are : it is necessarily a rough game, and 
he who enters must be prepared. Harold 
Lockwood and Lester Cuneo have the 
right idea : thev train carefully and take 
boxing-lessons from a professional boxer. 
The fight in "The Masked Rider'' testifies 
to the perfection of their preparation. 

The screen fighter should practice such 
sports as wrestling, football and tennis. 
Knowledge of boxing alone is not 
enough ; most of our picture-fights are 
rough-and-tumble affairs wherein all- 
around strength and good wind count fully 
as much as boxing ability. Lockwood 
owes much of his ruggedness to college 
football. So does George Walsh, who is 
also a good wrestler. The ideal movie 
fighter combines wrestling with boxing, 
and a mixture oi tactics appeals to pic- 
ture fans. Tho a high-class athlete, 
William Farnum is not a boxer — at least, 
not a fancy boxer. He is a great slug- 
ger, and can "mix it" with terrible effect. 
He is a rough-and-ready fighter with a 
spectacular right swing and a body too 
round and powerful for opponents to 
handle in a clinch. Farnum uses many 
wrestling grips, and does it like a Gotch. 
The hammerlock, as he puts it on Sant- 
schi in their famous fight, is one of the 
most effective holds known to the mat 
game. William S. Hart, too, uses the 
hammerlock when he wrings an apology 
from the bully m "Truthful Tulliver," 
tho he is not so handy with it as 
Farnum. ■ The hammerlock, the nelsons, 
and three or four other good wrestling 
holds should be learnt by our screen 

That fighting is an art with boundless 
possibilities of development has been 
amply proved by Douglas Fairbanks. 
"Doug" is a first-class boxer and quite an 
expert at jiu-jitsu, the Japanese style of 
wrestling. That he understands catch- 
as-catch-can style, too, he shows by the 
workmanlike way in which he puts a 
half-nelson on W. A. Lowery in "Reggie 
Mixes In." Fairbanks works in more 
original stunts than any other fighter on 
or off the screen ; the way he can cata- 
pult himself from a table onto an op- 
ponent, scale a wall and drop upon him, 
drag him backward over a banister, etc., 
stamps him as one of the marvels of 

The fighter's maneuvers should be 
easily seen. The Fairbanks style par- 
ticularly meets this requirement ; when 
he holds one man with his hands and 
another with his feet in "The Ameri- 
cano," every spectator in the house can 
appreciate it. This is a point screen 
fighters should observe ; when their action 
is hidden, or becomes too subtle, its effect 
is lost. Francis X. Bushman is cham- 
pion amateur wrestler of California, an 
expert boxer and a very powerful man, 
but often he gets less credit for his fight- 
ing than he deserves because it is some- 
times too technical for popular under- 
standing. In "A Million a Minute" Bush- 
man lands one of the very prettiest left 
hooks imaginable, but it travels such a 
short distance that it is missed by many 
of the spectators. Bushman is exceed- 
ingly "fast," and probably could defeat 
most of the professionals today if he 
cared to enter the ring. In "The Great 
Secret" his work is better adapted to the 
screen ; he employs more "haymakers" 
and fewer of the deadly short "jolts." 

Ambidexterity is highly valuable to 
the fighter. Even the unversed spectator 
sees novice written all over the fellow 
who drops his left hand to his side and 
swings repeatedly with his right. With- 
out mentioning any names, some well- 
known artists are guilty of this charge. 
Hart is a bit clumsy with his left hand in 
"The Aryan," but redeems himself in 
one or two other plays. This is not the 
"gunfighter's" favorite style of battle, 
anyway ; when it comes to manipulating 
revolvers he shows us a "good left." 
Bushman and Fairbanks use the left 
hand like the accomplished boxers they 
are, and the beginner can gather many 
hints from a study of their style. 

Fighting is essentially more, or less 
elemental and the man who attempts to 
refine it much will fail as a picture 
fighter. The struggle, as it exists in the 
photoplay, represents emotions ; none but 
professional fighters hammer each other 
without reason. The cause should depict 
characteristic emotion on the face and in 
every act. William Farnum has a highly 
expressive countenance ; his face shows 
every degree in the rising heat that is to 
culminate in an attack. In showing jus- 
tified anger, injured pride, the mental 



struggle and the triumph of primitive in- 
stincts, Farnum has no superior. His 
acting in "Fighting Blood" might well 
be taken as a standard. 

The fighting face is not an empty term, 
neither does it mean a broken nose and 
cauliflower ears ; it must represent the 
emotion behind the struggle. When the 
fight and its cause are separated in the 
actor's mind, his work becomes mechan- 
ical. Hobart Bosworth as the "Sea 
Wolf" may use the same blow that 
William Farnum employs in "Fighting 
Blood," but the former's face shows the 
wilful cruelty of a tyrannical captain 
dealing with seamen whom he regards 
as dogs, while the latter's expression is 
one of effort at self-control. Exchange 
the faces and both parts would be ruined. 

This power to show self-restraint is a 
part of the screen fighter's equipment. 
It serves an important purpose ; it gives 
the spectators time for a momentary re- 
view of the situation so that they will 
better appreciate the coming action, and 

keys up interest by creating a dynamic 
atmosphere. When Hart deliberately 
walks into the saloon where loaded guns 
are waiting for him, and holds his tem- 
per while he addresses his enemies, we 
recognize the character as more than a 
fighter, or, rather, as a fighter of the 
highest type, and our anticipation is 
keyed to tenseness. Hart in "The Dis- 
ciple" is supreme as the silent fighter. 

Fighting en masse, the mob scene, is 
often poorly executed. The trouble is 
caused by the necessity for extras who 
have had little or no training. In nearly 
all these scenes, the observing spectator 
may pick out several faces that are as 
blank as chalk. These fellows should 
be carefully instructed, to begin with ; 
and if they cannot or will not put on the 
fighting face, they should be withdrawn. 
It certain!}' is a glaring inconsistency to 
show one face diabolical with rage and 
determination by the side of a wholly dis- 
interested one, when persons are sup- 
posed to be moved by the same motive. 


The Movie Gossip-Shop 

Pictured News Sauced with Tittle-tattle from Screenland 

"I speak the truth — not so much as I 
would, but as much as I dare; and the older 
I grow — the more I dare." — Montaigne. 


Vacation season is on with a vengeance — 
even the hard-working stars sneak off for 
little between-scenes rests. Francis Bush- 
man and Beverly Bayne preferred to be lost 
in the crowd rather than in the woods. So 
recently they took a little jaunt down to 
Atlantic City, N. J., where our camera-man 
discovered them and snapped them coming 
out of a confectionery shop. How sweet! 
Their vacation had a tail tied to it in the 
shape of +1 - eir appearance at a ball and at 
3 picture houses. Mr. Bushman 
has had Bushmanor practically 
id will spend his week-ends and 
• of vacations there this sum- 
t present the co-stars are at 
1 oint Henry, N. Y., in the foot- 

le Adirondacks, where they are 

t. ext picture. 

t and her little sister Margery, 

who were raised in Australia and who re- 
cently sailed the Seven Seas leading to the 
Golden Gate, spent a good bit of their spare 
time in the out-of-doors — their chosen at- 
mosphere being the chunk of fresh air that 
immediately surrounds their charming Los 
Angeles bungalow. Just at present tennis 
is the diversion of the fair sisters and Enid 
is practicing daily perfecting her strokes to 
enter in some of the Coast tournaments. 

"The Baby Grands," Jane and Katherine 
Lee, are at it again. At a recent automobile 
fashion show held at the Sheepshead Bay 
Speedway, these two little minxes won first 
prize. Jane wore a khaki uniform which 
was an exact reproduction of an Uncle Sam 
officer's outfit, and Katherine was in the 
rear seat rigged as a Red Cross nurse. Their 
big Willys-Knight car had a brilliant blue 





body with bright red trim. Each of 
the Lee kids was awarded a $100 Liberty 
Bond for her nifty appearance. 

Tis said that a conscientious director 
must feel every emotion that his cast doesn't 
feel and then bawl it into them. Lou-Telle- 
gen, whom we have caught in action direct- 
ing a coming Lasky picture, is a pretty good 
little "emoter." His varied and adventurous 
career as soldier, actor, screen-player, plus 
his large heart-attack for Wife Geraldine 
Farrar, have charged him with a range of 
experience and a set of emotions that are 



sure to surcharge any soulless cast that 
works under him. 

Now that. Theda Bara has been discovered 
as the original daughter of Seti, the high 
priest of the Pharaohs, and the immortal 
remains of her maternal ancestress Umslo- 
pagaas have been unsandwiched from her 
sarcophagus in the pyramid of Chephren, the 
deathless vampire is entitled to shorten her 
name to Theda Umslopagaas Bara Sell — we 
hope she doesn't. At any rate 'tis n< w re- 
ported that the "Egyptian woman' now 




haunts the mummy-room of the Metropolitan 
Museum, New York, and gazes at her own 
likeness in an ancient coffin. We agree with 
Mark Twain that if Umslopagaas is now 
three thousand years old and is still on 
exhibition, that the fair Theda could be more 
up to date by procuring a nice fresh corpse 
for an ancestress. 

The other day our Camera Girl butted in 
$ at Norma Talmadge's country place 
,\ at Beechhurst, Long Island, 

N. Y. The indefatigable snapshot artist had 
gotten wind of the report that Norma 
was spending a few days in retirement — 
hence the invasion. As our Camera Girl 
has a lovely personality beneath a winning 
way, Norma not only consented to be 
snapped all over her estate, but invited 
the camera gunlady to spend the day as her 
guest. There is a fine beach fronting the 
Sound near Castle Norma, and here "Our 
Norma" daily washes her cares away. Wo 
might add that our Camera Girl used up 
several packs of film, and among other sur- 
prises shot Norma giving her fruit-trees a 
spray-bath, hoeing her corn and putting her 
pet vegetables to sleep in her kitchen garden. 



During the real lime-juice days of mid- 
summer, wherever Harold Lockwood can 
steal a few minutes from the studio he plays 
a "quick-lunch" game of baseball; when- 
ever he can get a few hours off you are 
pretty sure to find him on the links (we 
came near having handsome Harry dressed 
in his golf-togs on the Magazine cover this 
month, but caught a better likeness in his 
workday clothes). Harold, by the way, is as 
neat with his golf-clubs as he is with his 
{Continued on page 164) 





The "Four Minute Men" have started 
their march thru Screenland. This 
voluntary organization of patriotic 
citizens will address picture audiences each 
night on some topic of national impor- 
tance. Their talks will be limited to four 
minutes. Their organization is well under | 
way and in time will cover every state in Jt 
the Union. The two first appeals of the 
"Four Minute Men," that are due to 
"carry" their audiences and bring results, 
are "Recruiting for Uncle Sam," and 
"Working with the Food Army." 

Alan Hale has signed with Ethel Barry- 
more as leading-man for her forthcoming 
production, "The Whirlpool." Mr. Hale's 
most recent screen appearance was in sup- 
port of Clara Kimball Young in 
"The Easiest Way." 

Edith Storey has been rediscov- 
ered by Metro, who announce that 
the former Vitagraph star has 
signed a contract with them. The 
versatile Edith will no doubt pro- 
duce in Metro's Western studio. 

Much to the delight of their 
newly acquired audiences, Jack 
Pickford and Louise Huff will con- 
tinue to share the honors in Lasky 
productions. They are at present 
working in the Morosco studio on 
a charming story of schoolgirl and 
schoolboy love, "The Varmint." 

Doris Kenyon is about to be 
starred in a new Pathe serial, 
"The Hidden Hand." Supporting her are 
such featured players as Arline Pretty, 
Sheldon Lewis and Mahlon Hamilton. 

Charlie Chaplin has made a new con- 
tract! His salary has been almost doubled! 
From a mere $670,000 per year Charlie has 
been raised to $1,075,000. Mutual offered 
the magnetic little comedian $1,000,000, but 
his new boss, the First National Ex- 
hibitors' Circuit, went one better with the 
neat little bonus of $75,000, and Charlie 
succumbed; He is to have a free hand 
in his own production and will produce 
eight pictures a year. Some little coin- 
accumulator — yes ? 

The merry fight between the residents of 
Hollywood, CaL, and the Fox Film Cor- 
poration still wages. The citizens want 
to move the studio and Fox doesn't 
want to be moved. The first definite 
step in the legal warfare has closed 
down the Fox planing-mill, but has 
not removed the studio. 


^ The Goldwyn Company hit upon a novel 
method to obtain actors for a Mae Marsh 
picture now in the making. An entire 
circus is "shot" in the story, and society 
people were invited from New York to go 
across the river to Fort Lee to witness the 
circus. Thousands of them (including 
newspaper cartoonists) accepted and they 
made, mighty nifty "atmosphere." 

In preparing for her coming picture, 
"The Amazons," Marguerite Clark is also 
preparing a surprise for her friends in the 
audience. The dainty little miss is taking 
boxing lessons from the well-known slug- 
ger, Jack Denning, and will soon be ready 
to exhibit a fine assortment of hooks, jabs, 
swings and upper-cuts. 

The stars and other players are 
flitting to and fro during the sum- 
mer months just as industriously 
as during ordinary moving days. 
Here are some of the more im- 
portant changes of residence: 
Richard Neal is locking the door 
on Triangle and is about to use 
his new pass-key with Paralta; 
Tyrone Power has wandered from 
Dudley and is about to appear in a 
series of pictures produced by the 
"Marine Film Company"; Con- 
stance Crawley and Arthur Maude 
have formed a company all their 
own; Crane Wilbur is about to 
knock off for a bit and to make 
the grand tour a la Kerrigan and 
Hart; Eugene O'Brien flees from Selznick 
to take refuge under the aegis of Mary 
Pickford, and Anna Little deserts Selznick 
in favor of Metro at the same time that 
Donald Hall joins the former. 

Another famous song-bird can be added 
to the list of those who have tried their 
silent voices on the screen. Lina Cavalieri, 
the prima donna of three continents, has 
joined Famous Players. One of her great- 
est operatic successes was co-starring with 
Caruso in "Fedora." 

Edward Earle has just joined the Vita- 
graph Company and, with Betty Howe and 
Arthur Donaldson in his support, will start 
to work at once on "For France," a big pic- 
ture dealing with the present war. 

Another new Vitagraph combination 
is that of Mildred Manning and Wal- 
lace MacDonald, leading-man in 
"Purity" and "Youth's Endearing 
Charms." Their first production will 
be "The Princess of Park Row." 

Followers of film 
favorites will find a 
bevy of them in August pro- 
ductions as follows: Carlyle Black- 
well and June Elvidge will co-star in 
"The Waster"; Ethel Clayton will 
emote in "Souls Adrift"; William Rus- 
sell will be an idol of the squared ring- 
in "Pride and the Man" (based upon 
his championship experiences as an 
amateur boxer); Emily Wehlen will mas- 
querade delightfully in "Miss Robinson 
Crusoe"; Vivian Martin and Tom Forman 
will make pies and lay bricks in "A Kiss 
for Susie"; Charles Ray will adapt the 
Saturday Evening Post story, "Sudden 
Jim," and Winifred Allen will adapt the 
"Man Hater," from the same publication. 

Sid Chaplin is so elated over his brother 
Charlie's good luck that he has come East 
and is taking a well-earned vacation among 
the sylvan wilds of Greenwood Lake, N. Y. 

The Keystone girls are at it 
again as prize mermaids. In 
other words, the famous Venice 
bathing parade has just taken 
place and nearly all the honors 
went to Keystone comediennes. 
For the handsomest bathing-suit 
(and, of course, the figures to 
keep it from wrinkling), Mary 
T h u r m a n, Juanita Hansen, 
Maude Wayne and Marie Prevost 
walked off with the prizes. 
Juanita Hansen has already been 
requested by the enterprising 
owner of an Atlantic City (N. J.) 
bathing pavilion to send him pho- 
tographs of herself in her prize- 
winning suit as an added boost. 

Naomi Childers was recently the guest of 
honor at a lunch party tendered her by the 
Naomi Childers Girls' Club. The club pre- 
sented the star with a platinum ring set 
with a topaz, Miss Childers' birthstone. 

Two of the most momentous changes that 
have ever occurred in Picturedom have re- 
cently taken place. Thomas H. Ince has 
signed a contract with the Famous Players- 
Lasky combination, and will release his 
own productions thru Paramount and Art- 
craft. The Mack Sennett news came out 
twenty-four hours later to the effect that 
the famous comedy director-general had left 
Keystone and would ally with Paramount. 
Both have left for New York and it is not 
known exactly just which ones of their 
former stars they will take with them. 

Fay Tincher, the first to put a star in 
% picture stripes, has made a flying 
vacation and shopping tour to 
New York, her first venture from 
California in three years. 











Disregarding all 
lawsuits, newspaper 
gossip, matrimonial 
so-called bad management and 
loss of profit, Clara Kimball Young- 
announces that she is about to start 
in again strictly "on her own hook.*' 
No details are yet forthcoming as to 
her definite new plans or starring 

Maude Fealey, famed on stage and screen, 
has secured divorce number two. From 
Denver, Col., comes the news that she has 
just been granted a divorce from James 
Durkin for non-support. Miss Fealey's first 
matrimonial mix-up was in 1907 and came 
to a climax in 1909, in which careless years 
she married Hugo Sherwin, a dramatic 
critic, and divorced him. 

Little Bobby Connelly, Vitagraph star, 
recently fell from the running-board of 
an automobile and when he was picked 
up it was found that his left 
arm was fractured. Bobby was 
game clear thru and the next 
day appeared at the studio ready 
for work. His injured and band- 
aged arm, however, killed the plot. 
So not to be outdone, his director 
immediately concocted another 
scenario in which Bobby's useless 
flapper was made an appealing 
part of the story. 

John Bunny is at last to come 
to life again. Vitagraph an- 
nounces it will shortly reissue all 
his famous comedies, including 
the "Mrs. Nag'' series with Flora 
Finch and his Dickens' playlets, 
that made Bunny's name, fame 
and face a household word the world over. 
Madge Kennedy, who is both a recent 
bride and a new Goldwyn star, has just 
taken a brief vacation at French Lick, 
Ind. Miss Kennedy is a successful artist 
and while on vacation will design a 
national defense poster to be presented to 
the American Red Cross. 

Tho Ann Pennington has been extremely 
busy, dividing her time between the 
Famous Players' studio and rehearsals for 
the Ziegfeld Midnight Frolic, staged in New 
York, the tiny star has still found time 
enough to capture a prize in the recent 
automobile fashion show at Sheepshead 
Bay, N. Y. 

While presumably resting at her country 
place in Mountain Lakes, N. J., Pauline 
Frederick is vigorously hoeing up large 
portions of the landscape and is caus- 
ing her gardener no end of trouble by 
up the unhatched potatoes to 




The dog days of 
summer have driven 
the players to the open with 
the result that many of them are 
seeking quarters new. For instance, 
Irving Cummings has formed his own 
company to release thru Superlative 
Pictures; Myrtle Gonzalez has resigned 
from Universal after two years as a 
Bluebird star, future plans not an- 
nounced; rumor is rife that Charles Ray 
has left Triangle, and if so, a good guess is 
that he has joined the new Ince-Paramount 
forces; Lucille Young has journeyed from 
Fine Arts to Paralto; Dot Farley has 
crossed the chasm from Pathe to Fox; 
Charles Richman and Mary Fuller are now 
co-starring for the Public Rights Film Cor- 
poration in "The Public Be Damned"; and 
of supreme importance to many is the state- 
ment (as yet unauthorized by Tri- 
angle) that William S. Hart has 
decided neither to draw his gun 
nor to make modest love for them 
again. ^ 

Geraldine Farrar is making a 
second honeymoon trip with her 
husband, Lou-Tellegen. They are 
auto-touring in northern California. 
Upon their return Miss Farrar will 
immediately commence work upon 
her first Artcraft picture. , 

Olga Petrova, who recently 
joined Famous Players and starred 
in "The Undying Flame," has de- 
cided to tear up her contract, pro- 
vided same is agreeable to Famous 
Players. Just why they fell out is 
not known, nor has Madame 
Petrova announced her future plans as 

Anna Quirentia Nilsson, who first became 
known on magazine covers and as a Kalem 
star, has joined Artcraft and will be 
leading-woman for George M. Cohan in 
his forthcoming adaptation of his Broad- 
way success, "Seven Keys to Baldpate." 

Florence Carpenter, who has been en- 
gaged to appear with Wallace Reid and 
Myrtle Stedman in their next picture, holds 
the unique distinction of being the first 
daughter of a Motion Picture theater man- 
ager to appear on the screen. Miss Carpen- 
ter is the daughter of George E. Carpenter, 
manager of the Empress Theater, Salt Lake 
City, Utah. 

Fannie Ward, whose shoulder is still 
bruised from injuries she received in a 
recent Lasky picture, has nevertheless 
completed her production. She is 
taking a two weeks' vacation in 

s^/ the hope of restoring the injured 

■^T ' shoulder. 



Those who had 
the pleasure of see- 
ing William Faversham in his 
great stage success, "The Squaw 
Man," will take a double pleasure 
in learning that its sequel, "The 
Squaw Man's Son," is about to be pro- 
duced on the screen. Wallace Reid will 
be starred as Hal and will be supported 
by an excellent cast, including Dorothy 
Davenport, Frank Lanning and Mabel Van 

Admirers of Earle Williams will now 
have the opportunity of seeing him more 
than once a week in different photoplays. 
This comes about thru Vitagraph's decision 
to reissue most of Mr. Williams' past suc- 
cesses. Among those soon to reappear are 
those in which Earle Williams co-starred 
with Anita Stewart, such as "My Lady's 
Slipper," "Sins of the Mothers" and 
"The Juggernaut." 

Rita Jolivet, who was on the deck 
of the immortal Lusitania at the 
time of her sinking and to whom 
Charles Frohman spoke his his- 
toric last words, "Why fear death? 
It is life's great adventure," has 
been engaged by Selznick to star 
in a feature written round the 
Lusitania' s tragic ending. 
Have you heard the news? Tom 
Moore is now mixing soda-water for 
a living. Sorry that some of his 
many admirers cant sip one of his 
tasty summer drinks, but the fact 
is that handsome Tom is now lead- 
ing-man for Constance Talmadge 
and juggles soda only in their first 
Selznick picture, "The Lesson." 

Stars' vehicles are becoming more and 
more important (some day the authors will 
get into big print, too). Chariots that have 
been hitched to a star for August twinkling 
are as follows: Emily Stevens will present 
an adaptation of E. Phillip Oppenheim's 
novel, "A Sleeping Memory"; Pauline 
Frederick will heroinize in "The Show- 
down"; Thomas Meighan will support 
Billie Burke in the high society drama, 
"The M/sterious Miss Terry"; Olga Pe- 
trova will personify mother-love in "The 
Law of the Land"; Vivian Martin will be a 
delightful waif in "Little Miss Optimist"; 
and Wallace Reid will be humanely big in 
"The Hostage." 

Little Mary Miles Minter recently had a 
narrow escape from drowning. The 
venturesome miss' went exploring in a 
cave on the coast of the Santa Cruz 
Islands and did not notice that the 
rising tide had shut off the entrance 
(Continued on page 166) 


I Favorites of the Screen 

$20.00 in Cash for Our Readers* Opinions 

In the July issue appeared the following: 

The Motion Picture Magazine will pay $10.00 for the best appreciation 
of your favorite player; $5.00 for the next, and $1.00 each for the five next 
best. You are to select your favorite players and write a little article, or 
verses, or a prose poem about him or her, and mail it to us. 

Each contribution must be clearly written (typewriting preferred) ; must 
contain not more than seventy-five words, and your name and address. 
Write only on one side of the paper. 

We will publish several of the contributions each month, illustrated with 
photographs of your favorites. We reserve the right to publish any articles 
submitted, whether a prize-winner or not. 

Address all communications to Motion Picture Magazine, 175 Duffield 
Street, Brooklyn, N. Y. 

Riding madly thru hill and dale, 
Recklessly o'er cliff and vale, 
Never so much as turning pale — 

''Dougy" Fairbanks. 
"Winning hearts of damsels fair, 
Licks the villain and lays plot bare, 
And not so much as turns a hair — 

"Dougy" Fairbanks. 
Happy, scrappy, clean of sin, 
"Gits in trouble and out agin," 
But always with that joyous grin — 

"Dougy" Fairbanks. 
So ends the tale of this lovable chap, 
Whose laugh has mended many a scrap — 
"Dougy" Fairbanks! 

Samuel M. Pearlmax. 
1244 S. Millard Ave., 
Chicago, 111. 


> %. 


Screen Favorites 

B right little queen of the flickering screen, 
E nslaved by thy fairy-like charms have I been! 
S ure I fell for thy art, and I gave thee my heart 
S ince the first time I saw thee a-playing a part. 
I wonder what pleasure can give unto thee 
E njoyment like seeing thee gives unto me? 

L ove's the sweet theme of which poets all dream — 
O h, what love is sweeter than thou art, Sunbeam? 
V erses I'll write to thee — LOVE- themes indite to 

thee — 
Ever LOVE'S lover aspire I to be! 

Torrance, Cal. Marmion. 

"Oh, love is a beautiful thing!" 
Sang a poet. I walloped him — bing! 
He cant call our Bess 
A "thing," well, I guess, 
When I'm there to hear it, b'jing! 

Harry J. Sm alley, 
1207 W. Madison St.. Chicago, 111. 

She fell like a star from above 
Into filmdom, without any shove, 

And there she was planted 
<\ And taken for granted — 

Now who doesn't love Bes- 
sie Love? 

Martha Ostenso, 

This depart- _ ""' 
mation of general interest. 

matrimony, relationship, 
technical matters will not be - 

answers by mail, or a list of the 
close a stamped, addressed envelope. Ad- 
ment," writing only on one side of the paper, and us 

ent is for infor- 
but questions pertaining 
photoplay writing, and 
^ : f *V>-- answered. Those who desire 

) ^-- film manufacturers, must en- 

dress all inquiries to "Answer Depart- 
eparate sheets for matters intended for other de- 

partments of this magazine. When inquiring about plays, give the name of the company, if possible. Each 
inquiry must contain the correct name and address of the inquirer at the end of the letter, which will not be 
printed. At the top of the letter write the name you wish to appear. Those desiring immediate replies, or 
information requiring research, should enclose additional stamp or other small fee; otherwise all inquiries 
must await their turn. Read all answers and file them — this is the only movie encyclopaedia in existence. 

Skarabanda. — Well, the Pansy Club was 
the first correspondence club, and now there 
are several others. Surely I eat hard-boiled 
eggs — why not? Eggs are like cities on the 
fields of war — we must shell them before we 
can take them. 

Sun. — You ask why are Motion Pictures 
called the Shadow Stage when it is sunshine 
to so many. Because it is a poetic expres- 
sion, and shadows may be beautiful. 

Jane Novak Admirer. — The title of the 
picture you refer to is "Wolfe and the Con- 
quest of Quebec," taken by the Kalem Com- 
pany some time ago. 

Mrs. B. W. Hinkle. — I'm sorry the verses 
in the July issue were credited to Mrs. B. W. 
Winkler — that was a typographical error. 
They were appreciated, however, else they 
would not have been printed. 

Emma, 17. — Come, now; dont say I show 
partiality, for I dont. You ask if Ethel 
Tearle is related to Conway Tearle. No, 
Emma, Yes; Earle Foxe is married. Hon- 
estly, I warn you, I will do something des- 
perate if you persist in calling me a woman. 

L. W. H. — Margaret Edwards was Truth in 
"Hypocrites." Audrey Munson stars in "Pu- 
rity.' 1 Yes; Margaret Anglin has been in 
pictures. Thomas Meighan and Anita King 
in that play. No; I haven't been doing so 
much roasting as I formerly did. It's hot 
enough without my adding to it. 

R. G. M. — Winifred Weston was Kate in 
"Jim Bludso." Jewel Carmen was the girl 
in "Fall of Two Cities." 

J. N. Admirer. — No, we have no stills on 
"Eyes of the World." Roberta Wilson and 
Charles Perley in "The Amazing Adventure." 
So you like the Lannigans and Brannigans. 
They will be around again soon. True, some 
belles have all kinds of rings but the right 

Victoria. — You can get H. B. Warner at 
the Selig studio if you hurry. No; I wont 
pardon you for making such a sarcastic re- 
mark. My dander is up, and I want to fight. 

A. S. B. — Mary Fuller is playing in "The 
Public Be Damned" with Charles Richman. 
Constance Talmadge had the lead in "In- 
tolerance" and did mighty well. Harry 
Morey and Alice Joyce in "Womanhood." 

Jersey Movie Fan. — Anthony Merlo was 
Tom in "The Scarlet Mark." Theda Bara and 
Glen White in "The Darling of Paris." Her- 
bert Brenon was Roader in "Neptune's 
Daughter." Well, if you were born the first 
part of January, you are naturally subject 
to melancholy spells, according to the astrol- 
ogers. Come, cheer up; there are lots of 
good things in the world yet. 

Betty K. — You dont have to ask me to ex- 
cuse your pencil and paper and writing para- 
phernalia. Dont blame your misfortunes to 
fate. Nowadays if a man isn't successful he 
blames it on his parents. If he is success- 
ful, he takes credit for it. 

Josephine G. Y. — Gordon Gray played in 
"The More Excellent Way." I doubt whether 
Mary and Jack Pickford will play together. 
It's a good thing that you cant hear me, 
altho I am no orator. Did you ever observe 
how the crowds will collect around an angry 
man in the street or on a car? The acro- 
batic feats of Talmage, the volcanic erup- 
tions of Rufus Choate, the majestic thunder- 
ings of Webster, the fiery outbursts of Pat- 
rick Henry and the lightning flashes and 
excited contortions of John B. Gough drew 
large crowds and stirred the souls of thou- 
sands, but all that is nothing to what I could 
be if I got started once. 

Miss, 14. — Yes; Peggy Hyland. 

P. W. and C. W— You aren't a bit thought- 
ful. Clara K. Young is touring different 
cities. Also Muriel Ostriche. 

Olga, 17. — Crane Wilbur will have a cover 
soon. Not all can succeed in the scramble 
for food and in the search for a mate. So if 
you get left in the scramble, honey, or lost in 
the search, you will have plenty of company. 
Poorness or single blessedness is not a 
shame, but being ashamed of it is. 


A HEAD OF THE MOVIES (Can it be the Answer Man?) 

Reva. — Do you want me always to say 1 
am glad to hear from you? I am, even if I 
dont say it. That's like you in an impera- 
tive sentence — always understood. 

Mae F. — Warren Kerrigan is with Paralta. 
You should put your name on the top of the 
letter. Always so — we roast the great while 
they live, boast of them after they die. 

Keydet. — Stop your blushing now. Aren't 
you human? Tell me your troubles — I wont 
tell anybody. Virginia Stanton isn't playing 
now. Max Linder is still with Essanay. 

Athens. — Never noticed the resemblance 
between May Allison and Hazel Dawn. Mar- 
garet Shelby is Mary Miles Minter's sister. 
Thanks for your good wishes. Violet de Bic- 
card was the girl in "The Unwelcome 

E. M. S. — I believe you refer to Paul Wil- 
lis in "The Fall of a Nation." He is with 
Metro now. You had better write direct to 
American. Neptune hath claimed many vic- 
tims, but Bacchus more. I prefer Morpheus. 

Country Lover. — The more, the merrier. 
The doors are open to all. Charlotte Burton 
is married to William Russell now, and 
Vivian Rich is with Treasure Feature Co. 

Johanna. — Alexander Shannon was King 
in "War Brides." You are right; New York 
is full of Rush, Hurry, Push, Shove, Shout 
and Growl. We rush to restaurants, rush 


home after theaters, rush for the cars, but 
this is all called economy of time. 

Carissima. — I was glad to get your letter. 
Let me hear from you again. 

Judy. — Yes; I will be your Daddy-long- 
legs, but you cant expect any more. I never 
get tired of buttermilk. William Morse was 
the artist. Evelyn Dumo was the baroness in 
"My Madonna." The battle of nations you 
refer to was fought on the plain near Leipsic, 
October 16, 1813, between Napoleon and the 
allied powers of Russia, Prussia, Austria, 
Sweden, Denmark and England. 

G. U. Stiff. — Haven't you changed that 
name yet? Yours was just as interesting as 
ever. Write to the players in care of their 
company. I dont give private addresses of 
the players. Yes, most of them have summer 
homes. Money buys acquaintances, fidelity, 
friends, and we never can have too many 
friends nor too much fidelity when it is 

Wally's Fan. — Your questions are mostly 
out of order. You will get a picture of your 
favorite sooner or later. Charlie Chaplin 
has a new hobby now — he makes beautiful 
statuettes out of chewing-gum. 

Katherine R. H. — I'm sorry, but I couldn't 
have letters come to me and then forward 
them to you. Why dont you join a corre- 
spondence club? 



Eismet. — Wheeler Oakman in "The Ne'er- 
Do-Well." Never mind getting the hook. 
Hook and eye are great friends. They are 
the support of many girls. 

Janet B. — Yes; Martha G. McKelvie is 
from Nebraska, the State that Wm. J. B. put 
on the map and that Martha is keeping 

Odd 0. — Thanks for your dandy letter. I 
am glad you like my department and hope 
you will write me again. Tom Forman was 
horn on a ranch in Texas in 1893, attended a 
university in Texas, has hazel eyes, fair hair 
and is five feet ten inches. He is the 
possessor of an auto, a prosperous garden 
and is an all-around athlete. 

Mrs. R. H. — Norma Talmadge was Vir- 
ginia in "The Battle Cry of Peace." You 
want a picture of Marshall Neilan in the 

Grace Cunard Fan. — Mary Pickford and 
Matt Moore in "The Pride of the Clan." 
Keep at it and you will succeed. He is a 
man who takes the lemons Fate hands out to 
him and uses them to start a lemonade 

Ella Z. — Everybody's doing it. William 
Russell is an expert knitter. He knits golf 
stockings with green tops that attract much 
feminine admiration on the golf course. No; 

I haven't gotten to that yet. May Allison Is 
not located at this writing. No; I dont 
think Harold Lockwood is broken-hearted. 
That was the first Mary Anderson. Yes, 
write whenever you get time. 

A. V. G. — Mahlon Hamilton was the lead- 
ing-man in "Molly Make-Believe." Miriam 
Cooper was the older sister. Have handed 
your verses to the Editor. Nance O'Neil is 
the author of several comedies produced 
under a nom de plume. 

Ursula. — I haven't heard yet whether Alice 
Joyce has her divorce or not. Miriam Nes- 
bitt is with Art Dramas. 

E. M. P. — Ann Murdock says that parrots 
always make her furious, because they can 
talk faster than she can. C. Aubrey Smith 
was Jack in "The Witching Hour," and Marie 
Shotwell was Helen. Send for a list of 

Evelyn W.; Pearl White Admirer; George 
C; S. B. T.; Manuel C; Murray H. B. 
Olive M.; B. M. Angeline; Joseph J. L. 
Zeke, 17; Mildred S.; Helena H.; Ignatius 
Betty; Mrs. E. A. C; Lillie B.; Bessie I. 
Birdella D.; Walter; Leta L. H.; Pittsburg 
Movie Fan; Billie Burke Admirer. — If you 
would ask questions that haven't been an- 
swered before, I would be glad to answer 

The eye of the camera sees all things, even the mysteries of the deep. 



D. and G. of Saute. — Everybody ought to 
do his bit. Margarita Fischer sends her 
automobile one afternoon each week to take 
three helpless old women out for an airing. 
Arthur Hoops was Albert. Edward Coxen 
was Norman in "The Key to the Past." 
Monroe Salisbury was King Frederick in 
"The Goose Girl." 

Edward W. — Earle Williams was well 
named Christopher Race in "The Scarlet 
Runner." Christopher Colombo's experiences 
with the Nina, the Pinta and the Santa 
Maria were as serene as a babe rocked in a 
cradle compared with his namesake's ad- 
ventures in that red go-devil-cart. Your 
verses are very good indeed, but I fear we 
cannot print them. 

Inez. — Howard Missimer was the wild 
man in "The Wild Man." Herbert Prior was 
Robert in "The Thorns." 
posite Ormi Hawley in 
take." May Buckley was 
"The Derelict's Return." 
be just back from the 
come along with all 

Jack Halliday op- 
"His Mis- 
the girl in 
Say, you must 
Civil War, to 
these old 

films. Blanche Cornwall in "The Call of 
the Rose." Your argument, cigaret vs. pipe, 
is very good, but give me the pipe every 
time. You say cigarets are very artistic. I 
cant see it that way. Cigarets are for dudes 
and ladies (?) — pipes for men. 

Marguerite C. — King Baggot isn't playing 
just now. You ask about his wife. Whose 

Mrs. L. M. G.— Wallace Reid is still with 

''Doug" Fairbanks Admirer. — Thanks for 
the fee. Richard Barthelmess was Genarro 
in "The Eternal Sin." Perhaps he was mar- 
ried when I said so, but he may be divorced 

Gertrude, 18, Ga. — I'm surprised at you. 
Georgia ranks second in rice and sweet pota- 
toes. No, no; Anita Stewart has brown hair. 
You refer to Warren Kerrigan. Now, now, 
now! that's no way to fool the old Answer 
Man. You ask what's the difference between 
a sigh, an automobile and a monkey. A 
sigh is "Oh, dear," an automobile is too 
dear, and a monkey is "You dear." Thanks 
for this marvelous burst of wit. 

Wilfred L. — Well, if you make 
money your god, it will plague you 
like the devil. I haven't a record of 
where the scenes were taken in "A 
Prison Without Walls." I am afraid 
there is mighty little chance of get- 
ting in pictures these days. 








Margaret B. — The traditional story of 
"Jack and the Beanstalk" was a record- 
breaker for rapid growth, but doesn't it seem 
slow compared with the following answer to 
your inquiry for facts and figures of the Fox 
Film Corporation in California? When first 
organized it occupied one acre of ground and 
employed thirty persons. Within twelve 
months' time it spread over thirty acres, pay- 
ing salaries to more than five hundred per- 
sons, involving an expenditure of more than 
$1,000,000 — ten times more than President 
Wilson's yearly salary. 

Marjorte B. — Yes, but you must write on 
one side of the paper only. But perhaps 
during war times you can write on both. 

RALrH M. — Of course I did not register. 
Did you think I was a slacker? You can 
reach William S. Hart at Culver City, Cal. 

May Day. — Yes; Edith Storey is very ver- 
satile. She joined the Metro with a long 
contract. No, it wont cost you anything to 
see the Brooklyn Bridge when you come to 
New York. John A. Roebling made the 
plans for building this wonderful suspension 

bridge connecting New York and Brooklyn. 
He died July 22, 1869, while the construction 
was in progress. His son, Washington A. 
Roebling, completed the bridge in 1883. 

Margaret B. — Blanche Sweet isn't playing 
just now. You want another picture of 
Marguerite Clark on the cover. The next 
Fairbanks picture is "The Optimist." Eugene 
O'Brien was Clavering Gordon in "The Rise 
of Susan" (World). 

L. W. — My dear, Arline Pretty was playing 
opposite Douglas Fairbanks when that was 
written. Eileen Percy was playing opposite 
him when it appeared in print. On the cast 
I have Herbert Delmore as the doctor in 
"Broken Chains." Perhaps you know him as 
Ralph. You were right on the Russel. My 
mistake in having Bussel. Thanks. 

Fredericks. — Some boys marry so they 
wont have to go to war, and their brothers 
go to war so they wont have to marry. The 
way of the world. I am sorry, but I have 
no cast for "Hearts of Paddywhack." I am 
sure they did not play in it. Thanks greatly 
for the fee. 



Andrew J. — Look up back numbers for 
information about tbe Pathe octopus. 

Elma S. — Triangle took some pictures at 
Fort Lee. Yes, he is the same. Essanay has 
no jurisdiction over their players as to an- 
swering their mail. Write to him again. 
Thanks for the lilacs. 

Syzygy. — Sure, anything is accepted as a 
fee. Yes, it is nice to be wealthy, but dont 
you know that it has made more men worth- 
less than has poverty? Mabel Julienne 
Scott was Necia, and Victor Sutherland was 


the lieutenant in "The Barrier." You are 
wrong, and J. Warren Kerrigan shall now 
be dubbed Baron Munchausen. Your favor- 
ites are my favorites, too. 

LEoroLD F. G. — Thanks for the clipping. 
I agree. 

Jerry T. — Robert Clungston was Chick's 
pal in "Kick In." Jewel Carmen has been 
on the stage. Jane Novak isn't playing just 
now. It was Captain Nathan Hale, the Am- 
erican patriot, who courageously volunteered 
to penetrate the British lines to secure in- 

formation for Washington. He was detected 
and executed September 22, 1776. The dying 
martyr's words were: "I only regret that I 
have but one life to give my country." 

Miss Lionel. — Mary Miles Minter is at 
Santa Barbara, Cal. Romaine Fielding is 
directing for World. 

Inez, Newfoundland. — Wheeler Oakman 
was the male lead and Bessie Eyton opposite 
him in "Shotgun Jones." George Fischer 
was Paul in "Three of Many." Asquith is 
pronounced As'kith; Beaconsfield, Beck'ons- 
field; Brougham, Broom; 
and Pepys, Peps or Pep'is. 

Leigh, N. Y. — I dont 
mind answering questions 
in the least. No record of 
Laura Sears at present. 
Margaret Shelby is with 
Mutual. See above for Ro- 
maine Fielding. Thanks. 

Ontario Girl. — The Cor- 
respondence Club is still 
booming. Read this depart- 
ment regularly for full par- 
ticulars. We had a picture 
of Wallace Reid on the 
February Magazine, and a 
chat with him in May, 

Ellen B. — Yes, George 
Walsh in "Blue Blood and 

Alex S. — The note you 
sent was as bright as the 
one sent by a friend of 
mine who, in returning a 
lost glove, wrote "From 
this small token take the 
letter G, and then 'tis love 
and that I send to thee. 
You refer to "The Eternal 
Grind" with Mary Pickford 
as one of the sisters. Prob- 
ably, but I didn't see the 
picture. You must try to 
give the titles. Marguerite 
Clark did play in "Mollie 

Arnold Daly Fan. — You 
refer to Francis Scott Key. 
He was a lawyer by profes- 
sion. While detained on 
one of the British ships 
during the bombardment 
of Ft. McHenry, Sept. 14, 
1814, he composed the 
words of "The Star Span- 
gled Banner." Your letter was very interest- 
ing. We are waiting for some one to write 
another patriotic song now. 

Mae Marsh Admirer.— The Editor expects 
to have a picture of Mae Marsh on the cover 
soon. James Cruze was with Fox last. You 
say there are twenty-one movies in Auck- 
land, N. Z. 

Mrs. John E. — It is letters like yours that 
make us feel like work. You have it wrong 
— gentlemen perspire, horses sweat, but 
ladies glow. 



Rita G. — I'm not in the least sarcastic. 
Watcher step! You know nowadays they 
say a word to the wise is not sufficient; take a 
club. No name for the baby in "Square 
Deal Man." Probably wasn't named before 
the cast was made up. 

Leslie J. P. — Glad to know you. I doubt 
whether you will ever see a play with both 
Douglas Fairbanks and William S. Hart in 
it. It would make a great film with Earle 
Williams, Mary Pickford, William S. Hart, 
Anita Stewart, Harold Lockwood, etc., etc., 
all in it, but what company could afford so 
many stars in one play? I doubt whether 
we could use the drawings. 

Maorilander. — Why dont you join one of 
the correspondence clubs? You will surely 

initials — the "also rans." I dont like to put 
any one among them, but I must do it occa- 
sionally. Thanks for the verse. 

Luklla, 16. — Sorry to hear of your case. 
But the law is the only kind of net that will 
catch the little fish and let the big ones thru. 
Marshall Neilan was opposite Mary Pickford 
in "Rags." House Peters in 'The Bishop's 
Carriage." Arthur Hoops in Esmeralda." 
Rosina Henley in "The Sign of the Cross." 

Mrs. H. S. M. — Gadzooks! zounds! but you 
cant expect me to be polite when you insinu- 
ate that I make up the questions. Far be it 
from me, for I get hundreds that I dont even 
get time to answer. Yours was more of a 
Letter to the Editor. Of course I want to 
know what you like and what you dont like 

JIMMIE finds his mother's old switch in the rubbish-can and makes timely use of it 

find some one who would be interesting. 
You know that's true, but there's nothing 
green about a grass widow, and she never 
lets grass grow under her feet. 

Miss 14. — You will have to select your own 
star. Yes; I know that writing letters to the 
Answer Man is forbidden during school 
hours, and you must not do it. Write to me 
in the evening. 

International Morse. — You may use any 
name you like. The dancer isn't cast in 
"Sally in a Hurry" (Vitagraph). Denton 
Vane was Rene de Tierache, and Julia S. 
Gordon was the madame in "The Hawk." 
William Faversham was in the stage play of 
the same name. 

Maisiepop, 13. — I'm sorry you cant save. 
You know you cant pay next month's bills 
with last month's good intentions. Of 
course you dont want to be put among the 

about our Magazine, for that's the only way 
we can give you what you want. 

Mugwump. — You say you notice that all 
the American doctors have beards. Beards 
are intended to catch and preserve germs. 
William Russell is one of the most expert 
trap-shots in California. Hope you are better 

Riverma. — Charlie Chaplin is somewhat cf 
a vegetarian, and I guess his favorite vege- 
table is pie-plant. Marjorie Rambeau is 
taking sewing lessons so that she can make 
comfort kits for the soldiers, and Billie 
Rhodes has volunteered to keep ten soldiers 
supplied with interesting letters when our 
boys are called to the trenches. 

Queenie, Sydney. — All the players you 
mentioned are with Fox. You have them all 
right. William Duncan and Nell Shipman 
in "God's Country and the Woman." 



Gaby L. — William S. Hart didn't stop in 
to see us on his tour thru the country, altho 
he wrote to us an appreciative letter. I 
never knew him to be a woman-hater. You 
say you have never seen him kiss in a pic- 
ture, and that the woman always had to 
kiss him. 

Lorna H. — I have given your letter to the 
Editor. Impossibilities are merely the half- 
hearted efforts of Quitters. 

Elka. — So you say you are in love with 
Edward Langford. He was Harold in "As 
Man Made Her." 

Little Jane. — Thanks for your very kind 
letter. You refer to Mahlon Hamilton with 
Olga Petrova. Thanks. 

Clio. — Yes; Triangle have been somewhat 
abandoned, but they will probably come back 
strong, and you will see just as good films as 
ever. Of course I bought a Liberty Bond. 
Stop in some time. 

Verony Admirer. — Vernon Castle is still 
an aviator. Yes, I read about that German 
who took a picture of the Emperor to a 
pawnshop and was instantly arrested. Hock 
der Kaiser! 

"The Way of the Transgressor" 


Bobby tried to "graft" a dime 

From his sister's beau, 
So that he might have a time 

At some Picture Show. 
That is why he hid away 
Just to hear what they might say. 

All was right as right could be 

Till his buxom "Sis" 
Sat upon dear George's knee, 

Bobby heard a kiss, 
But the weight on the old couch 
Squeezed Bob till he bellowed "Ouch! 

Bobby thus was stricken low 

By his well-dug pit, 
Did not get to see the show, 

Not one little bit. 
What he got in spite of cries 
You can easily surmise. 

If you would enjoy the fun 

At some Picture Play, 
Let the price be fairly won 

In some honest way. 
Earn the dime and joy will go 
With you to the Picture Show. 



Elvira S. — Yes, we pay for cartoons that 
are used in our magazines, but we have 
plenty on hand just now. We are not going 
to use so many in the future. Yes, it was 
Ruth Ashmore who used to conduct the "Side 
Talks with Girls" column in the Ladies' 
Home Journal. Zoe Beckley now mothers 
the "Sidewalks with Girls" in the N. Y. 
Evening Mail. 

Skarabanda. — A dark curtain is used. 
Yes, "The Easiest Way" was very good. That 
isn't always the best way, tho. Charles Ray 
never got your address from us. Yes, we 
have a few fleas around here. Where there's 
a dog, there's a flea. Some fleas have nerve, 
all right. He's a valiant flea that dares eat 
his breakfast on the lip of a lion. Sheridan 
once said that if all the fleas in his bed would 
organize, they could push him out of bed. 
Team work is a great thing. 

Betty. — I think Olga has written to me 
for the last six or seven years, and she is 
still Olga, 17. Frank Bennett was Joaquin 
in "Sister Six." Of course I was glad to hear 
from you. Buttermilk and I will always be 

Gee Whiz. — Yes, I will give you a list of 
birthdays of the players soon. Yes, I like 
walking immensely. It is very invigorating 
after a day's work. 

Elsie N. — Alia Nazimova and Richard 
Barthelmess in "War Brides." Anna Little 
is with Metro. Mary Anderson and William 
Duncan in "The Last Man." 

Carewb Fan. — The word Nihilist was in- 
troduced by the Russian novelist, Tiirs:e- 
nieff, in "Father and Sons." It is from the 
Latin word nihil, meaning nothing. Enid 
Markey in "The Devil's Double." 

Esther P. — We had a picture of Thomas 
Meighan in April 1916 issue. Laissez-f.nrr 
is the "to leave alone" system, and expresses 
the principle of individual liberty as against 
state control. 

Louise D. — You want Maurice Costello's 
tabloid biography? All right, here it is: 
(a) Born February 22, 1877; (b) has two 
daughters, Dolores and Helen; (c) headed 
Vitagraph's round-the-world trip in 1913; (d) 
played Harold Stanley, the newspaper-man, 
in "The Crimson Stain Mystery"; (e) with 
Consolidated Film Co. Thought you'd have 
your Uncle Dudley guessing, didn't you? 
Try again. Anita Stewart and Evart Over- 
ton in "Glory of Yolanda." 

William N. — So you live at 5 Tremont 
View, Hunslet Carr, Leeds, Yorkshire, Eng- 
land, and would like to correspond with 
some American readers. You should join the 
Correspondence Club. 

Director — Faster! Faster! This isn't the scene where he catches you 




Pett. — Sorry you dont see the big films. 
You will have to move to a bigger town. 
That's the only remedy I can give you, unless 
you petition your exhibitor. Theda Bara as 
Esmeralda in "The Darling of Paris" is in 
the picture almost every moment. No; Vic- 
tor Hugo did not write the play, since he has 
heen dead many years. It was suggested by 
his novel, "The Hunchback of Notre Dame." 
Hugo was eighty-two when he died. His first 
drama, "Marion de Lorme," was suppressed 
by the censorship, but was performed after 
the French Revolution in 1830. Oh, yes! Mr. 
Censorship was quite as busy a hundred 
years ago as he is now. 

Kiddo, 1917. — That name isn't used so 
much as it used to be. Indeed I don't think 
you are rude. I don't want flattery, but I do 
approve of appreciation. 

Elizabeth McD. — Your letter was very in- 
teresting indeed. Robert Gaillord was 
Schuyler in "Writing on the "Wall." 

Margaret H. — Your letter was very inter- 
esting. Henry King is directing for Ameri- 
can now. 

R. F. A.; Ivy N.; A. Nut; Anna S.; Justa 
G.; Ruth P.; Betty B.; Roman P.; Joseph 
C; Albert H.; J. W. G.; John G.; Alice, 15; 
Dalphine; Fred B.; Kathleen Mc; Ross 
M.; Mabel L.; Alicia L.; Doris D.; Ethel 
J.; Paul L.; Carmen R.; E. C. K.; Pearl 
W.; Emilte L.; Marie V.; Incognito; M. K. F. 
That means that your questions have been 
answered before, and that I am sorry you 
did not ask some fresh questions so I could 
answer them without giving stale news. 

Ulster Girl. — You want to know all there 
is to know about Mae Marsh. I'm afraid I 
cant tell you any more than that she was 
born in Madrid, New Mexico, in 1897; is 
about five feet three inches in height; is 
charmingly slender; has dark eyes, auburn 
hair and a sprinkling of freckles; is quite a 
farmer; has played in a number of Biograph 
and Triangle plays, and is now with Gold- 
wyn. D. W. Griffith was taking pictures in 
France, is now in London and expects to re- 
turn home shortly. Of course you can send 
postal cards. 

Ditto. — Glad to see you again. What next? 
You want me to indicate in the Table of Con- 
tents on what page your answer will appear. 
Why, yes; wouldn't you like me to send you 
a letter about it? 

Copper Jack. — You should take care of 
your health — it is the most important thing 
in the world. Dont exceed the speed limit. 
Nay; Ben Turpin is not cross-eyed. Ella Hall 
and Robert Leonard are not playing opposite. 

Thomas W. B. — You often see Henry King 
in "poor but honest boy" roles. He helped 
Ruth Roland make famous the "Who Pays?" 
series, also co-starred with Lillian Lorraine 
in "Should a Wife Forgive?" Why didn't 
you look it up? New York, Chicago, Phila- 
delphia, St. Louis, Boston, Cleveland and 
Baltimore are the seven largest in U. S. I 
dont think so. I never knew of a company 
yet who stole a script. Stop in and we will 
hash it out. 

Dann, 88. — We have never published a pic- 
ture of Marie Cahill. 



Jack K. — Louise Beaudet was the mother 
of the two daughters in "The Battle Cry of 
Peace." Victor Sutherland and Cecil Spooner 
in "The Dancer and the Ring." Lillian 
Walker and Evart Overton had the leads in 
"The Shabbies." I cant tell you from your 
description. Sorry. Let me hear from you 

Viole. — Gail Kane is still with American. 
When she was asked, "Why is Gail blind?" 
her reply was because a gale is a wind, a 
wind is a zephyr, zephyr is yarn, a yarn is a 
tale, a tail is an attachment, an attachment 
is love and love is blind. So you have 
adopted me as your uncle. Yes, Alice Brady 
did do a dual part in "The Dancer's Peril." 
Alfred Paget you refer to. No, indeed. 

Inquisitive Bill. — Wont you please put 
your name at the top of the list? It would 
make it much easier for me. Of course a 
money order is safe. We are getting money 
orders from England, Japan and Australia 
every time a boat comes in. It is pretty hard 
to get autographed photographs. 

Viole, Australia. — So you dont care for 
Harold Lockwood in a derby. Of course we 
will fight — fight like hallelujah! You say you 
are awfully proud of us Americans, and I 
hope you can still say so a year from now, 
after we have accomplished something. You 
refer to Mae Marsh. Josephine Crowell was 
the mother in 'The Bad Boy." Get the May 
1916 Classic. Thanks for your letter. Glad 
to hear from you. 






Lockwood Admirer. — You should meet 
more people than you do. Conversation 
strengthens one's opinions; reflection and 
meditation confirm them. The only address 
of Harold Lockwood I know is Metro Com- 
pany, Los Angeles, Cal. 

Swimming Sin. — So Pearl "White won the 
contest in your town. Paddy McQuire, the 
Mutual comedian, says he has to change his 
personality so often that when he gets up in 
the morning it always takes him about five 
minutes to figure out who he really is. One 
week Paddy was a dignified judge and the 
next week he was a hod-carrier. 

Devoue. — You here? Quite nice of you to 
say you wanted to write me to let the ray 
of my wisdom penetrate the dense darkness 
of your brain, but I am sure you are not 
dense — far from it. Send five International 

Pax Vobiscum. — Yes, E. K. Lincoln is very 
much interested in dogs. He has one side of 
his den covered with ribbons won by his 
dogs. Louise Lovely was Bobbie in "Bobbie 

of the Ballet." Stella Razetto was Ruth in 
"Three Godfathers." We have no playing 
cards with photos of either Warren Kerrigan 
or Francis Bushman on them. 

Kiwi, New Zealand. — No; DoUglas Fair- 
banks' wife is not a screen star. Helen 
Holmes is teaching little Dorothy Holmes to 
use a rake and spade and not to pull up the 
plants to see how they are growing. Yes, of 
course Suzette Booth is a human being. She 
is in California. 

Naomi K. — Mr. Bushman's second name is 
Xavier. His salary I do not know, but it is 
somewhere between $1 and $2,500 a week, 
probably midway. John Davidson was the 
lieutenant in "The Wall Between." No, I 
have very, very few relatives, anyway. I'm 
somewhat of an orphan. I entered the busi- 
ness seven years ago without a cent in my 
pocket and I've got it yet. 

Velma C. — You must not write to me when 
you are angry. Count ten before you speak; 
if very angry, a hundred. Sure thing. You 
just write again. 

He — Blamed if I know what kind of clothes to put on that scarecrow to keep those 
crows away. 

She — Why dont you dress it up like Charlie Chaplin? 

He — Gosh, I want something to scare th' crows; I dont want to make 'em laugh. 





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Marion J. C. — Your first was much out of 
order. Much too much. Pathe release films 
produced by Thanhouser. You write a very 
fine hand. Some pictures are poems without 
words. Some of the letters I receive are 
hooks with words to burn. 

Mariox E. — Sepia is a brown shade or 
color. Walter McGrail played in "Within the 
Law." We never carried the story "The 
Shielding Shadow." 

Violet L., Perth Amboy. — Vale ska Suratt 
played in "The Slave." No; Anita Stewart 
is resting just now. Mary Pickford and 
Elliott Dexter in "A Romance of the 

Burke-Lockwood Admirer. — Please forgive 
me. Lawyers are a necessary evil. They 
divide their time between getting folks out 
of trouble and getting them in. Billie Burke 
is with Lasky. Your letter very interesting. 







Eleanor F. — Your first offense — welcome. 
Joy, temperance and repose slam the door 
on the doctor's nose. Your letter was great. 
We want letters of criticism as well as letters 
of praise. If you dont tell us what you want, 
how can we give it to you? 

Ima Knutt, Utica. — Richard Barthelmess. 
Miles Welch was Trafton in "Miss George 
Washington." Men are born with two eyes, 
but with one tongue, in order that they 
should see twice as much as they say. Take 

Elliott Dexter Admirer. — We have never 
printed an interview with Mahlon Hamilton. 
You never heard of William Sherwood? Im- 
possible! He was playing with Metro, but I 
believe he is in France now. Too bad! No 
one would commit suicide if he believed in 
the survival of the fittest. 

Barbara Gilroy Admirer. — I am sorry, but 
I dont know the young lady. 

G. U. Stiff. — Earle Williams is not mar- 
ried. He hasn't been in to see us for some 
time now. You are indeed a sparkler. 



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Beth, 17. — I am surprised at the patriotic 
letters I receive. If you dont answer the 
Call of Duty, you may be waked up by the 
Knock of Necessity. There will be more 
Liberty Bonds for sale soon. If you cant go 
across, come across! Joseph Dowling you 
refer to. 

Blue Bell. — Look up the August 1916 
Magazine. You know the old saying — "A 
man's heart is located between his stomach 
and his pocketbook." 

Dora. — Well, it is not necessary for a girl 
to pose in order to become a model woman. 
Chester Barnett was Joe in "The Man of 

the Hour." He also played in "The Gentle- 
man from Mississippi." 

J. F. R., Brooklyn: — Your letter looks like 
a sermon. Four pages of closely typewritten 
matter, and after reading it I sent it to Com- 
modore Blackton. No, no; there is no rea- 
son in the world why Dorothy Kelly hasn't 
received more publicity, except that Vita- 
graph have a lot of stars and they all should 
be taken care of. 

Joseph J. H. — Margarita Fischer was 
Jackie in that play. 

Creighton Hale Admirer. — Pathe last. Alice 
Brady is not married. 







When the Rattlesnake 

\ - 


When you sent me up for four 
years, you called me a rattle- 
snake. Maybe I am one — any- 
how, you hear me rattling now. 
One year after I got to the pen, 
my daughter died of — well, they 
said it was poverty and the dis- 
grace together. You've got a daughter, Judge, 
and I'm going to make you know how it feels 
to lose one. I'm free now, and I guess I've 
turned to rattlesnake all right. Look out 
when I strike. Yours respectfully, 


This is the beginning of one of the stories by 

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• m mMm&m ^ A^ A 12 Volumes,274 Stories 

v°% c<:, &\S Up— up — up goes the sale of O. Henry, higher and higher every day. Long 

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^^°*%%£gM ®' ^ enry ft y° ul " library is to be complete. You must have O. Henry if ' 

*<&*£ y° u are to £ et out of hfe the beauty and fun it holds. You can have his /" M . p 

workat half price if you send the coupon today; you can have,besides / %?$ 

KIPLING i?9stori!s FREE /«™« 

Before the war started Kipling easily held place as the first of living / 30lrvingPi.,N.Y. 

writers. Now we know him to be greater than ever. For in his pages / send me on approv. 
is the very spirit of war. Not only the spirit of English war, but the / ai, charges paid by 
spirit of all war regardless of nation or flag -the lust of fight, the / y°". O. Henry's works 
grimness of death, and the beating heart of courage. "Tommy / in xz volumes. s oid tops. 
Atkins" is dying today in the trenches TheTaking of Lungtungpen • j^ftMto Sff If 
when me British soldiers fought as naked as they were born, gives / I keep the books. I will remit 
a hint of what they may do today with a few clothes on,> and / $i per month fcr i7 months for 
Gunga Din" recalls the deathless heroism of plain men in battle. / the o. Henry set only and retain 

* the Kipling- set without charge. 

Prir»P» Cif\(*^ \Jr\ Adain / Otherwise I will, within ten days. 

M ULC VJUCS V/p 4-&gO.Ul / return both sets at your expense. 

Last Spring the price (if paper went so hish that we had to raise the / 
price of the hooks Fortunately, we secured one big lot of paper at / Name 

a comparatively reasonable price so that we had to add only one / 

payment to the price of the books. So as long as this paper (enough * ... 

for one edition) lasts, you can have your set of O. Henrv at the / -Address 

present low price with the Kipling five. But paper is still * 

higher now, cloth is higher, and this is the last edition we Jr Occupation., 

shall ever be ahle to make at alow price. So send tin- c. upon / „. . ..." 

now at once— for your set 011 approval free. • This -'eautiful three-quarter leather edition of 

f O. Henry costs only a few cents more a volume 
Review of Reviews Cn 1ft IrvinCJ Plar*> NY / and has proved a favorite binding. For this luxurious 
iveview 01 Reviews V,C, JU Irving t/lace, N. I . J binding, change above to J1.50 a month for 15 months. 

When answering advertisements kindly mention JIOTJLOS fMCTURB lUAGAZIJSi:. 



Abe, 99. — How are you? I'm thinking the 
same. Herr William T. Henderson lives in 
Brooklyn, and I haven't heard or seen him 
in years. I guess he has forgotten all about 
his old friends. 

Mrs. B. W. H. — No, indeed. No son of 
mine will ever be an Answer Man for the 
simple reason that I have no son. Marjorie 
Rambeau owns two fox-terriers, named, re- 
spectively "Heads" and "Tails," so it's al- 
ways a case of "Heads I win, tails you lose." 
She is still with Mutual. Thanks for the 

Mildred J. L. — I, too, believe in cash. Men 
who always pay cash seldom owe an apology. 
"Into the Primitive" was a six-part Selig, 
with Guy Oliver, Kathlyn Williams and 
Harry Lonsdale. Self-defense is Nature's 
oldest law. Gladys Brockwell did play with 
William Farnum. 

Mazie A. — Yes; Peggy Hyland has left 
Vitagraph. Well, a nice summer drink is a 
Horse's Neck, if you like ginger ale. You say 
that "since Billy Sunday has been in New 
York the lettuce blushes to see the salad 
dressing." Help, help! This way out, please. 

Yvette. — Oh, but you must sign your 
name. Harry Myers is with Pathe. • Very 

well. Comatose means drowsy; the word 
you want is Comus. He presided as the god 
of revelry over entertainments and feasts. 

Terry C. B. — Sorry, but that child wasn't 
cast. Rudolph Cameron was Dr. Billy in 
"Clover's Rebellion." That's right — take the 
selfishness out of this world, and there would 
be more happiness, my little friend, than we 
should know what to do with. 

Jerry T. — Edith Storey is with the West- 
ern Metro. Buck Connor was a Western 

Louise S. — Odds bodkin! Dont joggle me 
with such startlers. You dreamed you saw 
Charlie Chaplin as a baby and he looked 
like Billy Bryan; had his mouth open and 
was trying to put his big toe into it? Charlie 
should worry! But, pshaw! Dreams never 
come true — besides, his toes are insured. Oh, 
yes, Ruth Roland has played in regular dra- 
mas, and not always in serials. 

Ben L., New York. — You can reach George 
Walsh at the Fox studio, Fort Lee, N. J. 

Truly Rural.— Can you say it? Your let- 
ter really was a Letter to the Editor, but 
mighty interesting, altho your terminal facil- 
ities need adjusting. Let me thank you for 
the remarks about my department. 


Film Fan (recognizing clerical acquaintance in seat at the movies) — Why, doctor, 
how does this happen? I thought you strongly disapproved of Motion Pictures. 
Clergyman — Well, you see, I'm — er — er — on my vacation, you know! 



Clara Kimball Young, in Rich Red Hunt-Club Habit, Adorns October's 
Motion Picture Magazine Cover 

Beautiful Clara Kimball Young was never more resplendent than 
in the cover painting of her created by Leo Sielke, Jr., posed in her 
private park, with her favorite collie, and booted and spurred for a 
run with the hounds. This stunning painting and exquisite likeness of 
the screen's great emotional actress will delight the eyes of our readers. 

"Are the Studios Immoral?" — Recently a conclave of prominent 
citizens and the leading newspapers of Portland, Oregon, decided to 
find out for once and all if the surroundings, environment and life of 
the studios in Los Angeles were conducive to immorality. Professor 
William G. Harrington was appointed head of a special investigating 
committee and his comprehensive report (a most interesting narrative) 
will begin in the October Magazine and will continue for three issues. 
Special illustrations of Los Angeles studios and surroundings. 

"Stories That Are True" — Vivid tales of personal experiences by 
Douglas Fairbanks, Harry Northrup, Fannie Ward, Max Linder, 
George Larkin and others. 

"How Players Got Their Names" — Did you know that Peggy Hy- 
land was named after a famous race-horse? That Grace Valentine's 
name was Scnarrenberger? Look forward to some most interesting 
pages telling the players' real names and how they came to assume their 
stage names. 

"Children Who Support Grown-up Stars" — A beautifully illus- 
trated article which tells the story of tiny tots who are now full-fledged 

"As They Grew Up" — Lillian Montanye has succeeded in doing the 
impossible. By gaining the friendship of Viola Dana, Earle Williams, 
Grace Valentine, Anita Stewart, Alice Joyce and Mabel Taliaferro, Miss 
Montanye was entrusted with their original baby pictures — the faded 
photographs of long ago. In connection with these precious pictures 
Miss Montanye has learnt many new and charming incidents of the 
stars' child-life. Altogether a very unusual feature article. 

"Commandments of the Body Beautiful" — Parker R. Tyler, of New 
York City, a few years ago was a physical wreck — he was the hopeless 
patient of many doctors and physical culturists. At last he took his 
case into his own hands and built up a system of physical exercise that 
today has made him as strong as Bushman or the Farnums. Mr. Tyler 
offered to write his experiences and explain his exercises to us, and 
when the advance copy was read by athletic little Shirley Mason, she of- 
fered to pose each exercise for us. The result is an extraordinary fea- 
ture article of great physical benefit to all our readers. 

A Shower of Other Good Things — Space does not permit recount- 
ing half the contents of the October Magazine. Our Graflex man and 
our Camera Girl promise a sheaf of nifty snapshots of favorite players ; 
Earle Williams, Norma Talmadge and Edna Mayo will tell how they 
got into pictures; the strongest feature photoplays of the month will 
be recounted in clever short stories, and several reigning favorites will 
be chatted at close range. 

MOTION PICTURE MAGAZINE, 175 Duf field Street, Brooklyn, N. Y. 

When answering advertisements kindly mention MOTION PICTURE 3IAGAZINE 



Cleopatra, 11. — There were several com- 
panies who produced that play. Yes, Flor- 
ence LaBadie in "The Million-Dollar Mys- 
tery." I should not say it is warm — just sim- 
ply sweltering. I'm going to make me some 
lemonade in about five minutes. Some of the 
letters I get make me boil within, and the 
weather makes me boil without. Alma 
Rubens was the girl in "The Half-Breed." 

Jijjie. — We have a few really big names. 
Oratory had her Pericles, Demosthenes and 
Cicero; Statesmanship had her Vespasian, 
Titus and Trojan; Arms had her Alexander, 
Csesar and Hannibal; Philosophy had her 
Socrates, Plato and Aristotle; Law had her 
Lycurgus, Solon and Justinian; Moralism 
had her Seneca, Marcus Aurelius and Epami- 
nondas; Poetry had her Homer, Virgil and 
Horace; Science had her Hippocrates, Galen 
and Archimedes; the Drama had her Thes- 
pis, yEschylus and Aristophanes; and today 
the Photoplay has her Edison, Griffith, 
Blackton and Mary Pickford. Let me hear 
from you again. Your letter was clever. 

A. H. Marion". — Napoleon said that God 
was on the side that had the heaviest artil- 
lery. If so, the Kaiser is wrong, for the 
British seem to have the best artillery, yet 
Bill keeps saying that God is on his side. I 
think God is on his neck! Gertrude Bondhill 
and Wharton Jones in "The Unborn." Gail 
Kane and Montagu Love in "The Man She 
Married." Carlyle Blackwell and Ethel Clay- 
ton in "His Brother's Wife." Famous 

Daughter Mae. — Glad to see you again. 
See here, see here! No circumstances should 
create demonstrative irritability. What have 
I done now? Lottie Pickford and Irving 
Cummings. All the world loves the kind 
man; all the world despises the cross-patch. 

Come now, dont write such a letter again! 
Dont you think I am human? I dont mind 
you throwing bricks, but ! 

Robert G. N. — Thanks for the invitation. 
I couldn't accept. I have been invited to 
spend the summer with a camp of boys in 
Michigan, the Scroll Club have asked me to 
attend their convention in Wisconsin, and a 
friend of mine, who is also about seventy- 
three, has asked me down to Beaver Springs. 

Linda W.; Little Miss, 16; Ross E. B.; 
Joyce E.; Frances A. J.; Roberta K.; A. H., 
Providence; Roslyn W.; Jack L.; Miss L. 
Toe; Florence N.; Phyllis; Fair Play; 
Anna Belle; Lyda P.; Viola A.; Edith 
B. T.; H. K.; Fairbanks Fan; Harold R.; 
Myra G.; Lairidale; Rags; Simon a L.; 
Alma F.; Fluffy, 13; Fannie A.; Miss M.; 
Arnold H. ; F. G. L. ; Everett B. — Thanks 
for your letters. See elsewhere for your 

Eleanor F. — 'You know we cant please 
everybody. All we can do is to strive to 
please the greatest number. What you dont 
like, others do; and what you do like, others 
dont. See? However, your vote against 
bathing pictures, etc., has been duly recorded 
in the small minority. 

Jack F. — The high cost of living does not 
bother me. The price of shaves and hair- 
cuts may continue to soar, but I go on forever 
— without either. Your letter was a sparkler, 
but since you ask me no questions I can tell 
you no lies. I don't mind kidding nor being 
kidded — not the least. Shoot again! 

Prince Robin. — Sorry to hear about your 
brother. A woman is built to worry about 
somebody's staying out late at night, and if 
it isn't a man it's the hired girl, or the cat. 
Clara Kimball Young is now out for herself, 
God bless her! 

Between the skies and the sea 
Motor-boat, thee and me 
On dancing billows glide, 

When the powers from above 
Sent the power of love 
To pilot us safely to lee. 




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Die, Thou Villain! 

He had thought of being 1 a great Indiau Chief, or a 
soldier— but the biggest idea of all had come to him. He 
would be a Pirate ! 

Now his future lay plain before him. His name would fill the 
world and make people shudder. And, at the zenith of his fame. 
how he would suddenly appear at the old village and stalk into 
church, brown and weatherbeaten, in his black velvet doublet 
and trunks, his great jackboots, his crimson sash, his belt bristling 
with horse-pistols, his crime-rusted cutlass at his side, his 
slouch hat with waving plumes, his black flag unfurled, with, the 
skull and crossbones on it! His career was determined. 

Remember the days when you dreamt of being a Pirate? — When 
you thought you would be a black avenger of the Spanish Main? 

Get back the glamour of that splendid joyousness of youth. 
Read once more of Tom Sawyer, the best loved boy in the world; 
of Huck, that precious little rascal; of all the small folks and' the 
grown folks that make Mark Twain so dear to the hearts of men 
and women and boys and girls in every civilized 
country on the face of the globe. 


At first it seems a long way from the simple, hu- 
man fun of Huckleberry Finn to the spiritual power 
of Joan of Arc, but look closer, and you will find 
beneath them both the same ideal, the same humanity, 
the same spirituality, that has been such a glorious 
answer to those who accuse this nation of being 
wrapped up in material things. 

There seems to be no end of the things that Mark 
Twain could do well. When he wrote history, it was 
a kind of history unlike any other except in its accu- 
racy. When he wrote books of travel, it was an event. 
lie did many things — stories, novels, travels, history, 
essays, humor — but behind each was the force of the 
ureat. earnest, powerful personality that dominated 
his time, so that even then he was known all over the 
face of the globe. Simple, unassuming, democratic, he 
was welcomed by kings, he was loved by plain people. 

If foreign nations love him, we in this country give 
him first place in our hearts. The home without Mark 
Twain is not an American home. 


Mark Twain wanted these books in the hands of all 
the people. He wanted us to make good-looking, 
substantial books, that every man could afford to own. 
So we made this set, and there has been a tremendous 
sale on it. 

But Mark Twain could not foresee that the price 
of paper, the price of ink. the price of cloth, would 
all go up. It is impossible to continue the long 
sale. It should have closed before this. 

Because this is the one hundredth anniversary of 
the founding of Harper &. Brothers, we have decided 
to continue this half-price sale while the present 
supply lasts. 

Get your set now while the price is low. Send the 
coupon to-day before the present edition is all gone. 


1817 NEW YORK 1917 

HARPER & BROS., New York. 

M. P. C.,7-17. 

Send me, all charges prepaid, a set of Mark Twain's works in 25 volumes, 
illustrated, bound in handsome green cloth, stamped in gold, gold tops and 
untrimmed edges. If not satisfactory, I will return them at your expense. Other- 
wise I will send you SI. 00 within 5 days and $2.00 a month for 12 months, thus 
getting the benefit of your half-price sale. 

Name • 


10'.- added to price in Canada because of duty. 

When answering advertisements kindly mention MOTION PICTl'RK MAGAZINE. 



George F. — I have forwarded your letter 
to William Hart. Yes, I have heard 
Billy Sunday. He is the "Keystone" of re- 
ligion. He may be a clown, but like the 
Keystone comedies, he is giving comfort to 
a whole lot of people. 

Fanny B. — Of course I will send the 
flowers for you. Anything you like. Thanks 
for all the good things you say. It is fine 
to be able to serve a friend, and noble to 
conceal it, but the friend likes to find it out. 

Christ. N, Chicago. — Your letter was very 
fine. Remember that geniuses, heroes, 
writers and actors are very nice to think 
of and to look at, but awfully hard to live 
with, so beware. 

Rob. B. N. — I cant tell you anything about 
the divorces. Glad to hear from you. As I 
have said before, dont believe all you read, 
Speaking of salaries, the printer (rarely the 
press-agent) sometimes adds on a figure 
which makes 100 look like 1000. 

D. O. T— Thanks for the fee. They come 
in handy these days. You're wrong again. 
Francis MacDonald was Red Warren in 
"Voice on the Wire." Edna Goodrich was 
the girl in "Armstrong's Wife." Please dont 
write so closely — pity my eyes-in-glass. 

Rose B. — You refer to Sessue Hayakawa 
and Lehuo Waipahu. Edith Storey's last pic- 
ture was "The Captain of the Grey Horse 
Troop." House Peters was in "Mignon." 
Obesity is simply Nature's unnatural pad- 
ding, and while some look on it as comedy, 
many who are thus afflicted look on it as 

Lottie D. T. — Tickled to death that you 
are back. You want to say "Hello!" to all 
your old friends. All right, you have done 
it. Romaine Fielding directed for the World 
Company last, and I guess he is at it yet. 

Odeland, 9. — Yes, but you ought to think 
of the expense of the photographs and send- 
ing them. I would like to see it. Richard 
Morris opposite Dorothy Davenport in "The 
Devil's Bondwoman." 

Mary K. — So you want to write to the Vim 
Company and be their leading actress. Hun- 
dreds of others have wanted the same thing 
and didn't get it, but you might be the lucky 
one if you have something unusual to offer. 
Blessed be he who has nothing to say and in- 
sists on not saying it, so I'll say no more. 



J. A. Moore, Truro, N. S $2.00 

Samuel Molin, 410 Crosby St., Chester, 

Pa 2.00 

Clyde W. Miller, Box 206, New Straits- 

ville, Ohio 1.00 

D. C. Hasbrouck, Peekskill, N. Y 1.00 

A. D. S., Plainfield, N. J 1.00 

A Friend, Fairfield, Me 1.00 

Emerald J. Hansen, 604 E. 4th St., 

Anaconda, Mont 1.00 

Mrs. J. L. Buck, 252 W. 39th St., New 

York City... 2.00 

Mrs. T. J. Gillan, 165 E. 86th St., N. Y. . 1.00 

Miss Montana, Missoula, Mont 50 

Miss E. Auer, 2431 N. Myrtlewood St., 

Philadelphia, Pa 16 

Pearl R. Mattox, 1112 Dauphin St., Mobile, 

Birdie Heber, Vicksburg, Mich. 
Mrs. G. Johnson, 12 Central Block, Ashland, 

Hedwig Hahn, 308 E. 9th St., Erie, Pa. 
Mrs. Grace Kramer, 3008 N. Vandeventer St., 

St. Louis, Mo. 
Rene Lenwisher, 

E. Auer, 431 , Philadelphia, Pa. 

W. Scott, 2044 Fitzwater St., Philadelphia. 
Eloise Quest, 1010 Second St., Louisville, Ky. 
S. G. Frants, 109 N. 9th St., Lebanon, Pa. 
Ruth J. Lawler, 327 Central Park West, N. Y. 
Mrs. G. B. Fischer, Rodgers Forge, P. O., 

Baltimore, Md. 




^illll ; 

mmmsamm : ~m 

Just the Thing 

for Your 
Room or Den 

Just the Right 

Size to 
Mount or Frame 

Decorate Your Room or Den | 

Dont spoil your copies of the Motion Picture Magazine and Motion jj 
Picture Classic by cutting out the pictures for decorating purposes. 

Send in your subscription for either one or both and get this attractive M 

set of portraits of 80 of the leading picture players. They are 43/J x 8*4 inches jj 

in size, prepared by the rotogravure process in sepia. Just the pictures you jj 

need. jj 

They can be had with a subscription to either the Magazine or Classic jj 

by paying 15 cents extra. Below is a list of the portraits. You will find g 

your favorites among them. j§ 

Jackie Saunders Jewell Hunt Owen Moore Louise Glaum Jane Grey f|| 

Virginia Pearson Alice Joyce Virginia Norden Fay Tincher Frances Nelson 

Kathlyn Williams Peggy Hyland Theda Bara Billie Burke Marguerite Courtot 

King Baggot Alice Brady Bessie Eyton Viola Dana Ruth Roland 

Henry B. Walthall Fannie Ward J. Warren Kerrigan May Allison Annette Kellermann -—1 

Charles Chaplin Cleo Ridgely Edna Mayo Beverly Bayne Frltzl Brunette == 

Beatriz Michelena Marie Doro Helen Holmes Francis X. Bushman Mary Fuller 

Earle Williams Vivian Martin Clara Kimball Young Harold Lockwood Mary Miles Winter 

Frank Morgan Dustin Farnum Lillian Gish Mme. Petrova Pearl White • = 

Huntley Gordon Myrtle Stedman Mabel Ncrmand Valli Valli Ormi Hawley # =1 

Anita Stewart Lenore Ulrich Dorothy Gish Mrs. Sidney Drew Edwin August .* §|§ 

Lillian Walker Edna Goodrich Bessie Barriscale Sidney Drew Kitty Gordon S =^3 

Leah Baird Mary Picktord Norma Talmadge Ethel Clayton Mae Murray *r 

Dorothy Kelly Marguerite Clark Douglas Fairbanks Carlyle Blackwell Blanche Swe?t / =1 

Lucille Lee Stewart Pauline Frederick Mae Busch Mcllie King Anita Kinq + * === 

Charles Richman John Barrymore William S. Hart Muriel Ostriche Wallace Reld + ^^ |e| 

These pictures are rot for sale. Subjects not mentioned :n the list cannot be * -c^«P>P B 

supplied, and the set can be obtained only by subscribing for the Magazine or Classic. ^f '*$?&' Hf 

Subscription prices are as follows: -f _ _ §£&&&*' HI 

Magazine Classic Magazine & Classic Jt ^ *^S^ • H 

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175 Duffield Street BROOKLYN, N. Y. ,*' s . ^^VV^^ . 


When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 

A Star from the Dressing-Room Doorway 

Harold Lockwood an Intensely Human American 

Having seen photographs in the Mov- 
ing Picture sections of Sunday 
papers, of celebrated cinema stars 
in their luxuriously appointed dressing- 
rooms and apartments, I jumped at the 
chance to go out with my friend, Boggs, 
the scenario-writer and observe one in the 

"Perhaps," I mused to myself on the 
way out in friend Boggs' automobile, "I 
shall have an opportunity to sit down in 
one of the luxurious leather chairs and 
chat with the star himself while his Jap- 
anese servant brings on the tall glasses 
on a silver tray.'' 

The automobile broke in on my medi- 
tations as we hit a rut and bounced up 
against the curbstone in front of the 
studio. The exterior of the place re- 
sembled somewhat the street-front of a 
pioneer town such as one used to see in 
Oklahoma and still sees occasionally in 
the movies — a few windows, front step's, 
and rough % boards extending above the 
ground floor to make an appearance of 
greater height of the structure. 

Our first glance into the outer dress- 
ing apartment disclosed a pair of old 
pumps on the shelf with a milk-bottle and 
a jar of paste, two pairs of much-worn 
corduroy trousers, a trunk — which might 
have been on the road — a water-pitcher, 
a set of skid-chains, and a pair of snow- 
shoes leaning up against an oil-stove, 
which was blazing away at full tilt. 

In the inner room, a wardrobe trunk ; on 
the walls, seven hats ; scattered about in 
the scenery, hat-boxes, two canes, a worn- 
out necktie, more suits, a bundle from the 
laundry, a corkscrew, several shirts with 
the collars and ties still attached to them ; 
on the floor, about a dozen pairs of shoes, 
old and new, some under the table and 
some in front of the trunk ; a water- 
bucket, another oil-stove, and a coat- 

By this time our scrutiny had pro- 
gressed as far as the table. In addition 
to some loose papers — which might have 
been part of a script, or letters, or possibly 


bills — a few collars, an ash-tray with the 
hot end of a Pali-Mall hanging over its 
side, a few sticks of grease-paint, boxes 
of powder — necessary adjuncts even to 
a very masculine star — and a button- 
hook, there was a mirror, out of which 
peered the face of Harold Lockwood — a 
countenance half-yellowish-gray with the 
make-up and half-natural tan, the latter 
cropping out mostly around the collar 
and on the forehead where the hastening 
Lockwood had as yet failed to v reach with 
his dabbing fingers. 

Boggs introduced me, and, being a 
typical average layman, I thought I 
should break the ice with something 
about the business, so I started : 

"How do you like the Moving Pic- 
tures, Mr. Lockwood?" 

The star billiarded me a grin bv way 
of the mirror. "Do you mean ours? 
Oh, ours are fine ! The others are rot- 
ten !" This accompanied by a hearty 

That was pretty good for a starter, 
so I asked him how he liked being a 
hero, and playing with a beautiful lead- 
ing-woman, and getting a good salary, 
and riding in one of the handsomest 
automobiles in town, and having all the 
fans write letters to him, and getting 
offers all the time, and 

"Ah, dear me, no," said Lockwood, 
burlesquing a gesture of disparagement, 
"it would please me much more were I 
just one of the extra actors. Then I 
should escape the cares and worries of 
being a star. You know it is so bore- 
some to be a star Oh, rot!" he 

added, laughing again. "Sure I like it! 
Sit down and have a smoke." 

I didn't see any leather chair or even 
a straight-back to sit on, so I draped my- 
self over the edge of the trunk and made 
myself at home. 

"How do you like being a matinee 
idol?" I asked, and I had no sooner said 
it than Lockwood swung around in his 
chair and I knew I had spilled the beans. 
(Continued on page 156) 



Mr. Harold Lockwood 
wearing the marley 


2 FOR 3OC 

Do not confuse the "Motion Picture 
Magazine" with any other publication. 
This magazine comes out on the 1st of 
each month and the "Motion Picture 
Classic" comes out on the 15th of each 
month. These are the only publications 
in which this company is interested. 

175 Duffield St., Brooklyn, N. Y. 


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(Continued from page 154) 
"Who said 1 1 was a matinee idol?" fired 
the star. ''If all the matinee idols have 
long, wavy hair and use Djer Kiss and 
wear wrist-watches and sticks — and for 
all I know thev do — then I'd rather be 

a stage-hand. 


Lockwood, it seems, as -t>oggs ex- 
plained, has acquired the quite sensible 
habit of taking a strenuous work-out with 
a baseball and glove every morning be- 
fore beginning his regular labor before 
the camera. 

And the only intermission in the sport 
occurs when the "wild arm" of the film 
star precipitates the sphere under a pile 
of lumber or among the chickens in the 
yard next door to the studio, whence 
a wild squawking and a succession of 
flappings denotes the fact that Lock- 
wood has ''winged'' a chicken. 

The youth in the outer office stuck his 
head in at the door to ask a few questions, 
and incidentally I got some new angles 
on the inside facts about the correspond- 
ence of a film star. Here another idea of 
mine was exploded. Having imagined 
heretofore that nine hundred and ninety- 
nine out of every thousand letters ad- 
dressed to a masculine film star came 
from gushing women or movie-struck 
youngsters, the news that a large pro- 
portion of Harold Lockwood's letters 
contain sincere and constructive criti- 
cisms of his pictures was a distinct 

"You know," said Lockwood, by way 
cf explanation, "I get some of the best 
criticisms of my work from direct per- 
sonal letters from fans. For instance, 
here is a letter from a young man in 
Dallas, who tells me he liked the picture, 
'The Promise,' better than 'Big Tre- 
maine,' and why. When they say those 
things, and let me know just exactly how 
the pictures are getting over, the letters 
are very valuable." 

While talking about sports, outdoor 
and indoor, it developed that Lockwood 
spends two or three evenings a week in 
those places about town and at the beach 
which are celebrated for meals, entertain- 
ment and dancing, and that the film star, 
on each succeeding morning as well as 
the other four or five days of the week, 
is up and motoring by 7 :30. 

The well-merited question, "How do 



you do it?" elicited the reply that Lock- 
wood, when cabareting and dancing", en- 
joys the meals, the music and the dancing, 
but eliminates the drinks. 

"The only way," declared Lockwood, 
''that a Motion Picture actor can keep 
late hours and be at work for the earliest 
tlickerings of the camera in the morning- 
is to push aside the drinks. Booze may 
be all right for curing snake-bite and for 
other medicinal purposes, but it doesnlt 
help the actor in his work. And person- 
ally. I dont care for it." 

One more of my preconceived notions 
about picture people and the consump- 
tion of fancy drinks was blown to the 

Among other things, I learnt further, 
from observing this star from the 
vantage-point of the dressing-room, that 
Harold Lockwood, physically, consists of 
about six feet of bone and hard muscle, 
topped off by clean features which regis- 
ter well in harmony with the well-con- 
ditioned body ; that Lockwood prefers 
doing anything which is healthy and in- 
vigorating to such easy-going sports as 
croquet and five-hundred ; that he prefers 
a stiff game of poker with the boys at 
the back of the stage to a rubber of 
bridge in a Hollywood drawing-room ; 
that he would just as soon fight Lester 
Cuneo to the finish in the pictures as 
eat his meals ; that he does not waste 
much time talking- about "his art" and 
other such twaddle ; and that whether 
you are the president of a large film cor- 
poration or the agent for a local haber- 
dashery catering to the picture people's 
trade, you will get the same kind of husky 
handshake and friendly greeting. 

In short, the picture-lion whom I 
bearded in his dressing-room den turned 
out to be an intensely human sort of an 
all-around American. 

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When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 









Send us your Ideas for IMiotoplays, Stories, 
Etc. ! They may bring you BIG MONEl ! 
Rowland Thomas, an "unknown writer," re- 
ceived $5,000 for one story! Elaine Sterne, an- 
other beginner, received $1,000 for a single play! 

You Have Ideas 

If you go to the movies, if you read maga- 
zines—then you know the kind of material 
editors want. Special education is NOT RE- 
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"The best reading matter is as frequently ob- 
tained from absolutely new writers as it is from 
famous writers," says a prominent editor. 
EVERY life has its story. 

Your Ideas Accepted in Any Form 

We will accept your ideas in ANY form — 
tiiher as finished scripts or as mere outlines of 
plots. Send us your Rare Ideas, Outlines, Plots, 
Synopses or Finished Stories. 

We Correct Your Scripts 

If your work shows merit — but needs correction 
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DEPT. 41 




My Eyelashes 
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B. E. Walker, 1221 Lyndon St., South 
Pasadena, Cal., has found a way to while 
away many pleasant hours as well as 
building up a valuable collection of 

I wonder if some of your many readers 
would not enjoy an account of a "movie and 
stage star" collection by a California girl who 
has, I venture to say, one of the most inter- 
esting of the aforementioned collections that 
has ever been gathered together anywhere. 

It had its beginning over a year ago, being 
started in an effort to lighten many long hours 
of weary dullness that can be dull only as 
hours of illness are — and if today I am not 
entirely well (and I am happy to say that I 
ara nearly that) it is not the fault of negli- 
gence on the part of the players who made my 
collection such an unqualified success, or a lack 
of letters and photographs to make me so — for 
they came from all parts of the country, east 
and west, until now the large book which they 
comprise, represents one of the most precious 
and priceless things I possess. 

My first purpose and idea in making this 
book was to obtain "character" or costume pic- 
tures, but the results were far more delightful 
and satisfactory than any of which I had ever 
dreamed, for besides many of these, it con- 
tains snapshots, studio photographs and "still" 
pictures of all kinds — and if it misses including 
all of the best-known stars in the theatrical 
world, it is only because I have not written 
to them all — for which many may sigh a sigh 
of deep relief! 

You may well understand, too, how much I 
really appreciate all the kind answers when I 
say that I fully realize the frenzy with which 
most of these actors and actresses could tear 
their hair when they regard the pile upon pile 
of letters confronting them, begging away 
their likenesses. So I doubly appreciate mine; 
and if there are a very few of my many re- 
quests still unanswered, I expect they will 
sometime be found, in future delving — and if 
not, to forgive the besieged ones for what I 
feel would be unintentional oversight rather 
than otherwise. I truly admire their almost 
colossal patience with the unthinking humans 
who daily pester them to death — among which, 
I admit myself as one. 

True it is* owing to the wide scope of my 
endeavors, that I could not send the usual 
amount customary for pictures, and this much 
to my regret. I am no millionaire — just a 
plain little, every-day dream-girl, and the 
amount of Uncle Sam's postage alone ran up 
to 8 or 9 — well, not cents, or nonsense — but 
worth every bit of what it was, just the same! 
For today, there is the gladdest little song 
dancing and singing its way thru my heart 
- — because it discovered one of the most won- 
derful things in the world: that "people are 
kind", most beautifully so — and I was never 
refused one request. Kindness cannot be 
bought with gold, and, indeed, how could any 




one pay for all the kind thoughts and wishes 
that all these stars put into their autographs 
and letters for the little dream-girl, who had 
nothing- to give in return but a heart just over- 
flowing with thanks that couldn't he expressed? 

It would be impossible to write here the 
names of all my bright "stars," for they over- 
reach the 100 mark by no uncertain margin, 
and the Editor may not find enough patience 
in Ins soul to print even this long letter. (I 
cannot blarney him — I can only hope!) 
Neither would it be fair to choose only the 
most famous ones (I like them all, but for 
their hearts and themselves, and not their 
fame, no matter how proud the latter may 
make me feel), so I shall compromise, with that 
same Editors permission, and just turn back 
and forth thru the pages of my "Happy 
Memories" book, with my eyes kept tightly 
shut, until my- roving touch has singled out 
perhaps 60 different names, thus: Theodore 
Roberts, Tom Forman, Bessie Barriscale, 
Anita Stewart, DeWolf Hopper, Sarah Truax, 
Douglas Fairbanks, Hobart Bosworth, Mar- 
guerite Clark, Hazel Dawn, Tully Marshall, 
William Russell, Clara Kimball Young, Mary 
Miles Mintcr, Frank Keenan, Winifred King- 
ston, William and Dustin Farnum, Mary Pick- 
ford, Billie Burke, Tsuru Aoki, Sessue Haya- 
kawa, Henry Walthall, Herbert Standing, 
Kathlyn Williams, William S. Hart, Ethel 
Clayton, Herbert Rawlinson, Tom Mix, Rich- 
ard Travers, Charles Ray, George Beban, 
Blanche Sweet, Dorothy and Lillian Gish, 
Helen Holmes, Courtenay Foote, Myrtle Sted- 
man, Fay Tincher, Bessie Love, Edna Good- 
rich, Wilfred Lucas, Pauline Frederick, Theda 
Bara, Earle Williams, J. Warren Kerrigan, 
Crane Wilbur, Frank Campeau, D. W. Grif- 
fith, Constance Collier, Sir Herbert Tree, 
Marie Doro, Lenore Ulrieh, Lucretia del 
Valle, Lois AVeber, Cleo Ridgely, Wallace Reid, 
Mae Murray, Charlie Chaplin, Lou-Tellegen, 
Annette Kellermann. There ! And then, be- 
cause I surely want these in, too, and they 
did not happen to come within range of my 
wandering finger-tip, I will add: Geraldine 
Farrar (a letter from her, too) and Mile. 
Anna Pavlowa — really and truly these! 

And oh, all of you kind, kind people, who 
have brought so much happiness and sun- 
shine during this last year, to make glad and 
golden the joyousness of my days, please will 
you not take, each to yourselves in the mes- 
sage I can send you here, all the grateful 
thanks and appreciation your hearts can pos- 
sibly hold, from 

"The Little Dream-Girl." 

Here is no doubt a just complaint from 
Mary Byers, 802 Fulton St., San Fran- 
cisco, Cal. Players, including Crane 
Wilbur, are asked to remedy this apparent 
lack of consideration: 

I note by a current issue of the Pictureplay 
Magazine that Crane Wilbur does not want 

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When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 





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the public to know that he is married, for 
fear it will hurt his popularity. I think that 
Mr. Wilbur will find that the "fans" do not 
care how many times he is married. He will 
also find out he would be much more popular 
with the "fans" if he will keep his promise 
to them. For instance a few weeks ago he 
put a notice in the magazines that he would 
send cut one thousand photos to the "fans" 
who wished to send for them. I know of four 
who sent for them and they never received 
them, neither did they get a letter of ex- 
planation. If the players want to be popular 
they must stand in with the "fans," for it is 
the "fans" who make them popular. That was 
proven by the last Popular Players' Contest. 
Mr. Kerrigan and Mr. Bushman endeavor to 
answer all letters and a thousand photos 
would never begin to cover the number they 
have sent out. However, I do not mean that 
the players ought to send out photos free, 
unless they wish to do so. But I do think they 
ought to acknowledge all earnest, sincere let- 
ters they receive, even if it were only a short 
missive. The "fans" know that the players 
are a busy people and the players will find out 
that the letters worthy of answering are from 
"fans" who are as busy as themselves. 

Thanking you for taking up so much of your 
valuable time. 

We publish with pleasure the communi- 
cation of Derwent Hall Caine, 1205 
Times Building, N. Y. City, star of "The 
Deemster," and son of Hall Caine, the 
famous author of "The Christian" and 
many other great novels: 

I have frequently been asked whether I con- 
sidered Motion Pictures an art — most as- 
suredly I do. It is not only the newest art, 
but it is also a verv near form of the oldest 

"When the drama was in its infancy, the 
method employed to give it expression was 
pantomime. In the huge coliseums of ancient 
Kome and Athens, the play was almost en- 
tirely spectacular. Even now, the less civilized 
humans employ motions to express any ex- 
cess of feeling. 

This proves to me that it is natural to ex- 
press feeling by movement. Now art is a 
copy of nature, so surely to reproduce a story 
by pantomime must be an art. With the 
smaller theaters came the perfecting of the 
speaking drama and the neglect of the spec- 
tacular. But now that the larger theater is 
popular again, it is found almost impossible to 
make the speaking drama a success, without a 
spectacular display. It is only within recent 
years that the Russian ballet, which is a living 
form of Motion Pictures, has come into its 

The screen Motion Picture is, in my opinion, 
in its very early infancy. I think the first 
thing to wean it from its present state of 
crudeness would be to use stories that have 
real merit. The screen has vet to see the 



great Moving Picture writer. If Dumas were 
alive now, and his interest and great art were 
directed to the screen, we should realize the 
possibilities of the screen, which we only now 
dimly feel. 

In the speaking drama, we find it essential 
to have small models made of the suggested 
scenes where the action takes place. In Mo- 
tion Pictures, the scene is built after frequent- 
ly only having been roughly explained to the 
carpenter. The result is seldom entirely satis- 
factory, but is used because of the time and 
labor involved in making another scene. Why 
should not a competent artist be employed to 
design each scene and models be built for in- 
spection? The financial outlay of this would 
be as nothing compared to the time lost in re- 
pairing the errors made by the present forms. 
Several directors have told me with pride that 
they have taken "footage" ranging from 50,000 
to 75,000 feet of negative to make a 6,000-foot 
film. This strikes me as a matter for apology 
rather than boasting, for surely if the director 
were fully competent to direct his artists, and 
if he knew the best way to obtain his results, 
it would not be necessary to experiment with 
the camera working. 

A director of the legitimate stage spends 
weeks and often months of careful study on 
the manuscript of the play he is to produce, 
while the Moving Picture director has the 
manuscript thrust upon him and is told to "get 
along with it," allowing him no chance to study 
or use his imagination. Then the actor of the 
legitimate stage has his part many weeks in 
advance of his initial appearance, allowing him 
time to acquire the physiology of the charac- 
ter he is to play. Whereas, in the Moving- 
Pictures, an actor is often called to the studio 
and given a rough idea of the scene he is to 
play that day, without his being told what pre- 
cedes or follows. What chance has he for 
characterization ? 

I think I have suggested a sufficient number 
of improvements which are apparent to me, to 
justify my optimism regarding the future of 
this new-old art. 

Here is a cheery missive from Reide 
Romig, Beaver Springs,, Penna.,, one of the 
Answer Man's army of "friends by cor- 
respondence." Do our readers second the 
writer's motion? If so you shall have the 
pictures of our staff of authors: 

Last evening I called up an old pal of mine, 
with whom I have not held a conversation for 
ages. We spoke on divers subjects and then 
she said, "Oh, Reide, I read a letter intended 
for you in the Motion Picture Magazixe a 
few weeks ago." When I inquired further, I 
found that she meant your definition for a 
kiss. Some definition, wasn't it, old boy? 

And then I had a letter from a Harrisburg 
friend, one from a Chicago chum, one from 
Atlantic City, and one from an old college 
classmate of mine, at Selinsgrove, Penna., say- 
ing that they had read the same article. Such 


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When answering: advertisements kindly mention MOTION riCTURE MAGAZINE. 



JOIN THE ARMY mov.?%ans 

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Shakespeare said: "The play's 
the thing !" Nowadays, an 
audience of 20.000.000 says: 
"The plot's the thing!" Fame 
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profession — the photo-drama- 
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We have retained the ser- 
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is fame ! Your big old pate and happy grin 
are getting to be known all over the world, 
and sometime you'll be a candidate for Presi- 
dent (of the Censorship Board). 

Here's an idea, bah jove ! Each month you 
publish pictures of my old friends (every- 
body's an old friend, y'know), Mary Miles 
Minter, and Francis X., and everybody I like 
real well, 'cept the authors of the contributions 
that appear. Further, why not have the photo- 
graphs of some of these contributors? Who 
wouldn't want to see a good picture of "The 
Cub," or Gladys Hall, or Dorothy Donnell, or 
Fritzi Remontj or that distinguished all-around 
writer, Edwin M. La Roche, or some of the rest 
of them? I think we'd all welcome a glance at 
their good-natured features. Dorothy and 
Gladys, for instance, must have rarely beauti- 
ful souls that seem to peer out at the world 
rather timidly; thev couldn't write so beauti- 
fully, if 'tweren't for that. 

{Continued on page 163) 

Jack and the Beanstalk 

(Continued from page 58) 

misfortune had placed him. In this case 
the butcher would have returned to you 
the cow, as the fairies did not want you 
to suffer. 

''But, to their delight, he showed an 
inquiring- mind, great courage and en- 
terprise. When he mounted the bean- 
stalk, he started on the road to fortune. 
The first time he came to the castle and 
I told him of his father's former pos- 
sessions, his first thought was of you, 
and he risked great danger when he 
carried off the hen that laid the golden 
eggs. Then he came back and risked 
his life for me. The giant is slain ; your 
troubles are over ; you have only to come 
back to the castle. True, your husband 
is dead, and your other little ones, but 
you still have Jack." 

''And you," said Jack, who had been 
listening to the little princess — "to you 
we owe it all, beautiful princess, and our 
home will also be yours." 

The widow bade farewell to the 
friendly villagers, and gathered up her 
few possessions, taking great care of the 
little white hen. 

So they went around the foot of the 
mountain to the long and perilous road 
that led to the castle, and there they 
lived happily ever afterward — Jack, his 
mother, the beautiful princess and the 
little white hen. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



(Continued -from page 1G2) 
If our readers throw away their back 
numbers of the Motion Picture Maga- 
zine, Adele and Lolita White, 211 E. 14th 
St., N. Y. City, suggest by their own 
patriotism a valuable disposition for them: 

We have been reading for an undoubtedly 
long time your very exclusive Motiox Picture 

We take great pleasure in reading the 
charming letters directed to you, so we wish 
to tell you how much we and others enjoy the 
Magazine and how we dispose of it. 

The first day of the month we buy four 
Motion Picture Magazines. We cast aside 
our duties and sit down to enjoy a good hour's 
reading. We are very happy to read the in- 
terviews of our favorites and the witty an- 
swers of the Answer Man. Most assuredly 
your Magazine is the best on the market. 

Perhaps you are anxious to know what we 
do with four Magazines. Well, we send two 
hooks to two lonely French soldiers, who, in 
the muddy trenches, forget for some time their 
woes as they indulge in reading. They write 
to us that the cannon's roar is unheard to 
them during the brief space of time they spend 
in movieland. They simply adore Pearl White 
and Ruth Roland, but are afraid to ask 
their photos in fear of being met with a re- 
fusal. Do you think, Mr. Editor, that these 
two ladies would send their photos to us, so 
that we can remit them to our two French 

Our other two Magazines are sent to the 
Italian front, where two young men also are 
charmed by the review. In their leisure hours 
they sit in their tent and cut out the pictures 
of "Le piu belle artiste Americaine" (as they 
say) and pin them to the walls of their tent. 
The girls that beam down upon them are 
Marguerite Clark, Edith Storey (their favor- 
ites), Eulalie Jensen, Anita Stewart, Clara 
Young, Arline Pretty, etc., etc. They would 
like to see Jean Sothern and Howard Esta- 
hrook in the Gallery. 

We are sending a little essay on Antonio 
Moreno. It is over seventy-five words, but if 
you think it fit to be printed, please do so. 

Esau More 

A Tragedy of the Sea, in Five Reels 

Synopsis — Seymour See, on his yacht, the 
Sea-See, goes to see more sea. He saw more 
sea and sees a seaman, Esau More. Seymour 
See places Esau More in charge of the Sea- 
See. So, Esau More, he saw more sea on the 
Sea-See than Seymour See saw, see? The 
Sea-See is seen wrecked, but we see no Sey- 
mour See nor Esau More. So Esau More's 
son, Esau Two More, now he sought too to seek 
the Sea-See's fate. He saw more in Seymour 
See than Esau More saw. So he 

Note — Rest cut out by Editor. 

Juanita Hansen saluting 
\ sun, <wind and sea, none 
i of which impair the sheer 
>* beauty of Black Cat Silk 
\ Hosiery. 

Smooth evenness 
of texture and un- 
wrinkling fit— it is these 
"camera" qualities that make the "pro- 
fession" ask for 

Reinforced Silk Hosiery 

With refinement and the sheen of pure Oriental 
silk is combined lasting durability; for Black Cat 
is strongly reinforced at toe, sole, heel and garter 
top— the points where wear comes. 

Ask your dealer for Black Cat— all colors — 
for men, women and children. 


Kenosha, Wisconsin (2 5is; 



The Movie Gossip-Shop 

(Continued from page 125,) 
clothes and personal appearance, and that's 
about as finicky as a young mother with her 

Perhaps as a matter of good publicity, but 
surely because she feels the call of her 
country, little Ann Pennington has been 


•*-«fi5>jfcj -^l '*&*£* 


making the rounds for the sake of the Red 
Cross. She has posed and danced and 
pleaded so right "womanfully" at several 
affairs that the purse-strings of every one in 
the audience have been loosened to the last 
knot. In making her rounds in the suburbs 
whom should the "Princess of Ten Toes" 
come across but the "ex-King of Ten Fin- 
gers" — none other than James J. Corbett, 
the one-time idol of the squared ring. Little 
Ann caught him in the act of acting as bill- 
poster for the Red Cross and the hurried 
pair exchanged a grin and a handclasp as a 
token of their mutual esteem and of the 

glorious cause for which they are now work- 
ing hand in hand too. 

Two-by-four Mary Miles Minter and her 
mother, Charlotte Shelby, are now spending 
an hour or so each day on Santa Barbara's 
restful beach. Peep-o'-day sea-dips are 
Mary's obsession. The little star woke up 
the other day to find herself the half-owner 
of a five-acre greenhouse in Minneapolis. 
There is a young man in the "Flour City," 
totally unknown to Mary except by name, 
who is an ardent long-distance admirer of 
the shiny-haired player. In a series of 
letters he confessed that Mary was the guid- 
ing genius of his floriculture. The big sur- 
prise came when he .sent her the papers 
which made her a half-owner in the green- 
house. All "Mr. Greenhouse" asks is per- 
mission to worship little "M. M. M." from 
across the continent. 

We have had so many requests for a pic- 
ture of Douglas Fairbanks' private bathing- 
pool that we have procured one (with the 


consent of "Doug" of course). "Doug's" fair 
companion on the springboard is his new 
leading-lady, Eileen Percy, the seventeen- 
year-old showgirl who was discovered in the 
Cocoanut Grove, N. Y., and has now climbed 
(Continued on page lot) 



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The handsomest deck of cards ever made. Pink, cream, green and gold backs; gold edges; flexible, 
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Each card contains a portrait of a great star, including Marguerite Clark, David Warfield, Julia Mar- 
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Anna Held, Grace George, James O'Neill, Ellen Terry, Henrietta Crosman, Frances Starr, Margaret Anglin, 
Eddie Foy, Mrs. Fiske, Harry Woodruff, Mrs. Leslie Carter, Cissy Loftus. and other well known stars. 
Most of these great players, and most of the others, have already made their appearance on the screen, and 
every one of them has made stage history, as many of them are now making Motion Picture history. Why 
not take advantage of this opportunity to make a collection of the portraits of these great stars, even if 
you do not want to use the cards to play with? (Please note that this set of cards has no connection with 
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It is perfectly safe also to send a dollar bill by mail.) 



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DepL 8545— E. 4th St., Cincinnati. Ohio— S. Wabash Ave., Chicago, IR 


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When answering: advertisements kindly mention MOTION PICTURE 9IAGAZINK. 



The Movie Gossip Shop 

(Continued from page 164) 
the dizzy heights of screen fame. Perhaps 
Fairbanks is jealous of her, because he ap- 
pears to be trying to push her overboard. 
Eileen has nothing to fear. She is equally 
at home in her bathing-suit or on the tips 
of her toes; and between scenes she is now 
teaching the Artcraft extra girls the mys- 
teries of twirl and pirouette. 

Charlie Chaplin has just received a letter 
from a friend living in Cairo in which the 
writer speaks of the extraordinary transla- 
tions of both French and English that 
manage to find their way into public an- 
nouncements in Egypt. 

The following is an excerpt from an 
Anglo-Egyptian picture theater program: 

"Sensationing. Comical. 

Chariot in 


Great comedy, in two parts, of a poign- 
ancy interest, assisting with anguish 
at the terrible peripeties of a young girl, 
falling in hand, of Bohemian bandits. 
Pictures of this film are celicious, being 
taken at fir trees and mountain's of 

Great success. 

Comic. Silly laughter." 

When stars fall out the very heavens are 
rent asunder. Now it come? about that 
Clara Kimball Young threatens to drop out 
of her stellar orbit and leave a large, blank 
hole in the Selznick firmament. It has all 
come about thru a bit of pocket-money. 
Clara claims that Selznick has short-changed 
her. Her complaint recites to the court that 
she has received only $1,000 a week and that 
no dividends have been paid on her stock in 
the Clara Kimball Young Company. For the 
exhibition of her face and form in the four 
pictures, "The Common Law,'' "The Foolish 
Virgin," "The Price She Paid," and "The 
Easiest Way," Clara claims that Selznick 
is in $800,000, half of which is hers. She is 
going after it to get it. Perhaps she will. 
We cant go back of the scenes, but it looks 
merely like a matter of bad bookkeeping, 
or perhaps Clara and Selznick dont keep any 
books and banks at all, and just use a stock- 

Greenroom Jottings 

(Continued from page 128) 
to the cave. It was only by the most 
desperate and exhausting swimming that 
little M. M. M. succeeded in rescuing herself. 
Sir Herbert Beerbohm Tree is dead. The 
famous English actor sprained his right knee 
and, after complications, passed away during 
a heart attack. His stage Hamlet challenged 
that of Henry Irving and his Falstaff that of 
Coquelin. His Macbeth, produced for the 
screen last year, was one of the noblest 

characterizations of the silent stage. Frank 
Mills, leading-man for Emily Stevens, says 
of Sir Herbert: "He was the Belasco of 
Great Britain, and his staging of plays was 
always perfect to the smallest detail. His 
popularity was wonderful — all England wor- 
shiped him." 

The Russian art films have arrived on our 
shores. They comprise the work of the 
leading Russian actors in plays taken from 
the greatest of Russian authors. For prac- 
tice in developing their neck muscles, 
readers are requested to recite the following- 
names of famous Russian players now with 
us on the screen: Mmes. Gzovskaia, Cholod- 
naia, Lisenka, Balasheva and Ourevina. And 
for the second exercise, Messrs. Mozjhukhin, 
Rimski, Backsheef and Cheruvinoff. Whew! 

Here is a little jumble of all sorts of lively 
news: Roland Bottomley has joined the 
Officers' Training Camp at Toronto, Canada; 
Anne Schaefer has left Western Vitagraph 
and is now ensconced with American; Lois 
Wilson, formerly with Universal, will be 
Warren Kerrigan's leading-woman in coming 
Paralta features; Paddy McGuire and Patri- 
cia Hanna, both of the Fox encampment, re- 
cently led each other to the altar; William 
Conklin, former "heavy" for American and 
Balboa, is now with Lasky; and the Yancsi 
Dolly vs. Harry Fox divorce is off — they have 
agreed to kiss and make up. 

Antonio Moreno, who recently signed with 
Astra-Pathe, will make his premiere in "The 
Naulahka," adapted from one of Rudyard 
Kipling's short stories. Others featured in 
the cast are Helene Chadwick and Warner 

An Evening with the Nature-Fakers 

George Randolph Chester, well known 
in filmland 1 as the author of "The Girl 
Philippa," which was so delightfully 
filmed, tells this one : 

"A club of young men had fcr one of 
their rules that on Tuesday evenings any 
man who asked a question which he was 
unable to answer himself should pay a 
fine of ten dollars. 

"One evening Monahan asked the fol- 
lowing : 

" 'Why doesn't a ground squirrel leave 
any dirt around the top of his hole when 
he digs it?' 

"Nobody knew, so Monahan was called 
upon to answer his own question. 'That's 
easy,' he said. 'The squirrel starts at the 
bottom and digs up.' 

" 'All very well/ suggested a member, 
'but how does he get to the bottom ?' 

" That's your question,' said Mona- 


There is a big paying position waiting 

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When answering advertisements kindly mention MOTION PICTURE 3IAGAZINE. 



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Pay As You Wish Order fromThis Ad 

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12 N. Michigan Ave., Chicago * 
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\ Harold Lachman Co., Dept. 1546 / 

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\ ■/ • 

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7- .-/.-. 







"Witfi ^Paramount Stars 

BROADWAY is Starland ! The wonderful white-lit Mecca of Amer* 
ica's playgoers. Glittering lights spell the names of the world's great' 
est players and plays. Throngs of well groomed men and richly appareled 
women crowd in the box office line. The whole gay populace is electrified 
with the joy of living. And well it may be! For the plays of Broadway are 
the cream of the world — and Broadway's favorite players rule supreme. 

You want this Broadway flavor of finest class 
— the kind of pictures presented at New York's 
famous Strand and Rialto theatres. The exqui- 
site settings — the master productions — the real 
stars — translated by Paramount from the living 
sta&e to the eternal screen. 

And now you can see these &reat stars and 
pictures by simply asking your local theatre 
manager to present them. Paramount's new 
"open booking" policy enables him to do this 
easily — and profitably. 

He can offer youMme.Petrova.LinaCavalieri, 

Sessue Hayaka wa Jack Pickf ord, Vi vi a n Martin 
Billie Burke, Julian Eltin&e, Ann Pennington, 
Wallace Reid, Pauline Frederick and Mar- 
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reel comedies, Victor Moore and Black Diamond 
single reel comedies, the Paramount-Bray Picto- 
^raph, weekly "Magazine on the Screen" and 
Paramount-Burton Holmes Travel Pictures. 

Ask your theatre manager to book Paramount 
Pictures. Send us coupon below for illustrated 
magazine — "Picture Progress." 


** ^ Controlled by V -" 

Famous Players-Lasky Corporation 

ADOLPH ZUKOR, President JESSE L. LASKY, Vice-President 

CECIL B. DE MILLE, Director-General 



Please put my name on your 
list for "Picture Progress"— 
to be mailed free. 



When answering advertisements kindly mention MOTION PICTURE 31AGAZINE. 



Snap-Shots from Home. 

Give cheer to the boys in camp and on shipboard by 
sending them pictures from home. There arc likely to 
be some tedious, homesick days and a little cheer-up 
in the way of photographs of the home folks and the 
home doings will do them a lot of good. 

And some day when you want to give something 
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pictures to you. 

Vest Pocket Autographic Kodak, $6.00 

All Dealers'. 

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Miss Mary MacLaren is one 
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of Ingram's Milkweed Cream will keep the skin fresh and youthful. 

Ingram's Milkweed Cream is a time-proven preparation. 
1917 marks its thirty-second year. It is more than a "face 
cream" of the ordinary sort. It is a skin-health cream. There 
is no substitute for it. 

Buy It in Either Size, 50c or $1.00 

Send us 6c in stamps 
for our Guest Room 
Package containing In- 
gram's Face Powder and 
Rouge in novel purse 
packets, and Milkweed 
Cream, Zodenta Tooth 
Powder, and Perfume 
in Guest Room sizes. 

"Just to show a proper glow" use a touch of Ingram's 
Rouge on the cheeks. A safe preparation for delicately height- 
ening the natural color. The coloring matter is not absorbed 
by the skin. Daintily perfumed. Solid cake — no porcelain. 
Three shades — light — medium — dark— 50c. 

Frederick F. Ingram Co. 

Windsor, Canada 

Established 1885 

21 Tenth St., Detroit, Mich., U. S. A. <4i 


The Mildest tobacco for 
cigarettes is Turkish. 

The Best tobacco for cigarettes 
is Turkish. 

Don't pay 10 Cents for anybody' 
rette until you've tried "Helmar, 
nating, elevating, gentleman's smoke 

Makers <flhe Highest Grade Turkish 
and Egyptian Cigarettes mi' 



: A j 
1 w 


A Mellins Food Boy 

Little James' rugged and robust appearance 
is an excellent tribute to the merits of Mellin's 
Food, properly prepared with cow's milk. 

Mellin's Food will do as much for your baby. 

We will gladly send on request a Free Sample bottle 

of Mellin's Food and a copy of our book, 

"The Care and Feeding of Infants." 

Mellin's Food Company 

Boston, Mass. 




To insure Victor quality, always look for the famous 
trademark. "His Master's Voice. " f It is on all eenuine 
products of the. Victor, Talking Machine Company. 

The Victrola is the embodiment 
of all that is best in music 

The excellence of any talking-machine can 
be safely judged by the artists who make 
records for it. 

Just as there is but one Caruso, one Farrar, 
one Galli-Curci, one Gluck, one Kreisler, 
one McCormack, one Melba, one Paderew- 
ski, so there is only one instrument able to 
bring their superb art into your home with 
absolute fidelity. 

The greatest artists themselves have decided 
that instrument is the Victrola. 

Any Victor dealer will gladly play for you the exquisite interpre- 
tations of the world's greatest artists who make records exclusively for 
the Victor. And if desired he will demonstrate the various styles of 
the Victor and Victrola— $10 to $400. Ask to hear the Saenger Voice 
Culture Records. 

Victor Talking Machine Co., Camden, N. J., U. S. A. 

Berliner Gramophone Co., Montreal, Canadian Distributors 

New Victor Records demonstrated at 
all dealers on the 1st of each month 

Victrola VI. $25 




Victrola IX. $50 

V.clrola XVU. tfoctrfc. J300 M 

Victor Supremacy 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 


Why Some Foods Generate 
Deadly Poisons 


* <r "p*HE combinations of food that most people 

eat three times a day inflict nothing 

less than a crime against their health 

and are the direct cause of ninety per cent of 

all sickness." 

This is the rather startling statement of 
Eugene Christian, the famous New York Food 
Scientist whose wonderful system of correc- 
tive eating is receiving so much eager atten- 
tion throughout the Nation at the present time. 

According to Eugene Christian we eat with- 
out any thought of the relation which one food 
has to another when eaten at the same time. 
The result is that often we combine two foods 
each of great value in itself but which when 
combined in the stomach literally explode, lib- 
erating toxins which are absorbed by the blood 
and form the root of nearly all sickness, the 
first indications of which are acidity, fermen- 
tation, gas, constipation, and many other 
sympathetic ills leading to most serious con- 

All of this, states Eugene Christian, can be 
avoided if we would only pay a little attention 
to the selection of our daily menus instead 
of eating without any regard for the 

This does not mean that it is necessary to 
eat foods we don't like ; instead Christian pre- 
scribes meals which are twice as delicious as 
those to which we are accustomed. 

Not long ago I was fortunate enough to be 
present when Eugene Christian was relating 
some of his experiences with corrective eating 
to a group of men interested in dietetics, and 
I was literally amazed at what he accomplished 
with food alone and without drugs or medi- 
cines of any kind. 

One case which sticks in my mind was that 
of a prominent woman in New York City. 
She had gone to him with stomach and intes- 
tinal fermentation and gas, auto-intoxication, 
mental depression and anaemia, vertigo, and 
threatened heart failure. She was very much 
overweight when she commenced, but reduced 
her weight thirty-seven pounds during the 
treatment. He showed me a letter she had 
written him afterward, in which she said: 

"I am sure you will be gratified to hear that 

I continue to improve — it seems sometimes 
that I must have been made over, and it is dif- 
ficult to remember that less than eight months 
ago I was a feeble old woman depending upon 
daily doses of strychnia for what little strength 
I had. When I came under your treatment, I 
weighed one hundred and ninety-seven pounds, 
was hardly able to walk, and was subject to 
most serious heart attacks upon the slightest 
exertion. And I am now so well, so strong, 
that my family and friends maintain that it is 
a miracle which has restored me to strength 
and vigor of life — certainly in my case the 
cure is most remarkable because of my sixty- 
seven years." 

Another was a well-known minister who 
had 'been out of his pulpit for twenty-two 
months, unable to preach or conduct the sim- 
plest service. He was about twenty-five 
pounds under-weight, anaemic, nervous, had 
superacidity, and could not assimilate his 
food ; and his heart action was very irregular. 
He had gradually declined for two years 
although treated by one of New York's lead- 
ing physicians. Three months after he placed 
himself under Eugene Christian's care he 
preached the first sermon he had been able to 
preach in nearly two years. This was over 
three years ago. 

He has gained about twenty-five pounds in 
weight, and since has net missed a day from 
his arduous clerical work. He has steadily 
gained in strength and vitality, and is to-day 
healthy and athletic. 

Another case which interested me greatly 
was that of a bank cashier, confined to his 
desk for from seven to eight hours a day. 

When he first consulted Eugene Christian 
he was very much run down in health, suffer- 
ing from constipation and kidney trouble, and 
subject to almost constant and very severe 



Only one month from the time he began to 
follow Eugene Christian's suggestions, his 
constipation was gone and the headaches had 
completely disappeared. These severe head- 
aches, which had made continuous brain work 
almost impossible, were gone because the 
cause — constipation — was gone. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 


He pursued the treatment for three months 
with a gradual increase in weight, and at the 
end of that time practically every one of his 
former symptoms having disappeared, he 
wrote that he was "feeling fine all the time." 

In order to reach more people who are in 
need of Eugene Christian's methods the Cor- 
rective Eating Society was founded to publish 
a series of 24 simple Lessons which he has 
prepared on Corrective Eating. These lessons 
are being sent as quickly as possible to all who 
request them for free examination. The les- 
sons are not for sick people alone, but for all 
who wish to build up and maintain a reserve 
of bodily health and mental energy. 

They are written in simple language, and 
every point is explained so there is little 
chance for misunderstanding. Reasons are 
given for every recommendation, and every 
statement is based upon results secured in the 
author's many years' experience. 

But the lessons do not merely tell you why 
you should eat correctly and what the results 
will be; they also give actual menus for 
breakfast, luncheon, and dinner, covering con- 
ditions of health and sickness from infancy to 
old age for all occupations, climates, and sea- 
sons. They include Corrective Menus for 
stomach acidity, fermentation, constipation, 
and the host of diseases which follow when 
these "warnings' 

are neglected. 

Every one of these menus has been em- 
ployed for its purpose of increasing efficiency 
or restoring health not once but many times — 
so that every element of experiment has been 
removed. And an interesting feature in these 
days of high cost is that following these 
menus will cost you less than your food costs 

Eugene Christian feels that every thinking 
man or woman — young or old — well or sick — 
should know the laws of Corrective Eating. 
For there is a great deal of truth in the old 
adage that "Most people dig their graves with 
their teeth." Food is the fuel of the human 

system, and just as certain fuels will produce 
definite results when consumed in a furnace, 
so will the right foods produce the desired 
results when put into the human furnace. 

Yet not one person in a hundred has any 
knowledge of food as fuel. Some of the com- 
binations which we eat every day are as inef- 
ficient and dangerous as soggy wood, wet 
leaves, mud, sawdust, and a little dynamite 
would be for a furnace. No wonder man is 
only 50 per cent efficient — no wonder the 
average life is only 43 years — no wonder dis- 
eases of the stomach, liver, and kidneys have 
increased 103 per cent within the past 30 
years ! 


The "24 Little Lessons in Correct Eating" 
show how easy and simple it is to eat your 
way back to normal health and up to a new 
type of physical and mental power. The rela- 
tion of health to material success is so close 
that the result of eating Nature's way, as 
explained in these booklets, is a form of per- 
sonal efficiency which often puts men head 
and shoulders above their brother-workers. 
For every one knows that the best ideas, plans, 
and methods are worked out when you are 
brimful of vitality — when you feel full of 
"ginger." The better you feel — the better 
work you can do. 

If you would like to see the "24 Little Les- 
sons in Corrective .Eating," simply write the 
Corrective Eating Society, Inc., Department 
2810, 443 Fourth Avenue, New York City, and 
they will mail you a set for examination. It 
is not necessary to enclose any money with 
your request. Merely write and ask them to 
send the lessons for five days' free examina- 
tion with the understanding that at the end of 
that time you will either remit $3, the small 
fee asked, or return the lessons. You take no 
risk and if the more than 300 pages yield but 
one single suggestion that will bring greater 
health, you will get back many times the cost 
in personal benefit — yet hundreds write the 
Society that they find vital helpfulness on 
every page. (Advertisement) 

Merely tear out and mail this form instead of writing a letter. It is a copy 
of the official blank adopted by the Society and will be honored at once. 


Dept. 2810, 443 Fourth Avenue, New York City 

You may mail me the 24 Lessons in Corrective Eating for examination. 5 days after 
I receive them, I will either send you $3 (full payment), or remail them to you. 

Name , 

Address , 

When answering advertisements kindly .mention MOTION PICTURE MAGAZINE. 



A Bigger and Better Magazine Printed in Beautiful Gravure 


The oldest son of 
the oldest son 
means something 
among the nobil- 
ity, and the third 
month of the 

^^j3 ■ fip?S 



f i| 



third year of the 
Classic will crown 
it peer of all 
Motion Picture 


THINK of it! The rich brown, deep-bodied etching strokes of gravure will beautify 
every page. The October Classic is only the first of a kingly line of bigger and better 

magazines. Its editors have been lavish with printer's ink, artist's brush, author's 
pencil and photographer's camera. Our staff has been increased all along the line — new 
feature writers, new artists, new ideas. The gallery of players' pictures will contain more 
pages and there will be a goodly number of added pages of illustrated reading matter. 
This means more departments, more stories, more articles and chats, more beautiful pictures. 

An especially posed painting of Jack Kerrigan — he of the wanderlust — has been rendered 
into stunning outdoor colors by Leo Sielke, Jr., to dignify the front cover. 

The Superb Gravure Gallery is devoted to exclusive photo-portraits of Violet Heming, 
Dorothy Gish, Doris Pawn, Doris Kenyon, Mae Murray, Norma Talmadge, Marguerite 
Courtot, Alice Joyce, Priscilla Dean, Ethel Clayton and Violet Mersereau. 

"Romeos and Juliets of the Screen on Horseback" — Starts the illustrated text with 
an exhilarating canter, in which June Caprice and Frank Morgan, Clara K. Young and 
Alan Hale, True Boardman and Marin Sais are the featured equestrians. 

"War-time Economy in Dress" — In a timely article in which Marguerite Clayton illus- 
trates fashions combining economy with good taste. 

"Miss Film Favorite's Dressing-room" — Lillian Montanye takes you into the inner 
-shrines of beauty in the dressing-rooms of Priscilla Dean, Irene Hunt, Alice Brady, Theda 
Bara, Shirley Mason, Geraldine Farrar and Mollie King. 

"How They Work Up Their Amotions" — Another "inside" feature article by L. E. 
Eubanks in which Antonio Moreno, Theda Bara and a host of other fair and stalwart 
stars summon up their heart interest in each role. 

"The Classic Extra Girl with Pearl White"— Ethel Rosemon describes her thrilling 
experiences playing with Pearl White in "The Fatal Ring." 

"Studio Kiddies — Their Life, Play and Schooling" — A beautifully illustrated write-up 
of the starlets, including "Little Mary Sunshine," Zoe Du Rae, Thelma Salter, Kittens 
Reichert, Bobby Connelly, Madge Evans and the Lee kiddies. 

Here are some further "samples from the Big October Classic: "The Bird-Doctor," an appealing short 
story featuring Mae Marsh and Robert Harron; "Weapons of a Widow," an amusing, up-to-date apprecia- 
tion of Alice Brady, by Edwin M. La Roche; "The Law of the Land," a Dorothy Donnell short story with 
Petrova. Then there are, as well, all the regular departments enlarged and beautified; chats with Gladys 
Brockwell, Marguerite Clark and others; an artistic layout of Norma Talmadge and hundreds of new pic- 
tures of popular players. 

The price remains at twenty cents. Place your order with your dealer now. The October Classic will 
be sold out in one week's display. 

MOTION PICTURE CLASSIC, 175 Duf field Street, Brooklyn, N. Y. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



"He had a dream 

and it shot him!" 

FRIGHTENED— ragged— dirty— the boy stood. It was midnight and the doctor, 
waked up from sleep, demanded — "But how did they shoot him?" The boy 
trembled — stuttered. "He had a dream and it shot him." 
Don't you remember it — how that boy was Huck Finn — and how Tom Sawyer 
was shot — and Huck's preposterous, terrified explanation? 

How it rolls back the years! How it carries you back to the day, when as a youngster you read 
and read Huckleberry Finn until you nearly died laughing. 

*"- — its sadness — all those 
For Mark Twain was 
for liberty, for ideals. 

Have you read Huck Finn this year and realized its bigness — its philosophy- 
things, which now to you, become so mixed with the laughter of youth? 
the most serious of all our writers — he was a great fighter for freedoi 


Remember that Tom Saw- 
yer is only one of the 
I woks in which. Mark 
Twain shows his wonder- 
ful understanding of boys. 
No one has ever written 
of boys as did Mark 

Read "Joan of Arc" if 
you would know Mark 
Twain in all his greatness 
— the most amazing story 
in the world— accurate as 
history, spiritual in idea, 
beautiful in execution. 


Evervthing he wrote was 
touched with the golden 
freshness of youth and 
romance whether in such 
books as "The Trince and 
The Pauper"— 'A Con- 
necticut Yankee" or 
"Houghing It." 


They are so many and so 

He could not see injustice 
without fighting it. The 
flame of his anger seared 
and burst forth in essays 
that will live forever. 


Tou have not seen the 
world until you see it 
through Mark Twain's 
wise and humorous eyes. 
His books of wanderings 
— will be revelations to 
you now who read them 
only in your youth. 



"He traveled always such a broad and brilliant highway with plumes 
flying and crowds following after" — and his death left nations weeping. 
But in a larger sense he is not dead. He lives forever in work more 
truly American than that of any other man. 

RUDYARD KIPLING, writing to the most important officials in India, 
said: "I have seen Mark Twain this golden morning, have shaken his 
hand, and smoked a cigar — no, two cigars with him, and talked with 
him for more than two hours! Understand clearly that I do not de- 
spise you; indeed I don't. I am only very sorry for you, from the 
Viceroy downward." 

Perhaps you think you have read a good deal of Mark Twain. Are 
you sure? H ve you read all the novels? All the short stories? All 
the brilliant fighting essays — all the history? 

Mark Tlvain has been translated into more foreign languages than 
any other writer. 


To Mark Twain two things were precious above all others — one was a 

love for his wife— the other was a love of the people. At every side he was 

surrounded by tributes of honor, by joyous affection. In everv corner of the 

world he was known and loved. And because of this it was his desire that his 

books be so made and sold at such a low price that everv family could own a set. 

So this set of Mark Twain has been sold at a much lower price than would 

ordinarily be the case for a set of books of this character. But .Mark Twain could not 

foresee that the price of ink, paper, binding— that everything that goes into the 

making of a set of books — was to go to heights 

undreamed of even two years ago. It is impos- ^ihbb_mhibhbbhcbh 

Bible to continue the sale of this set of books at > 

that low price. For a few weeks longer — until > HAPPFP S5\ nortTHrPQ 

the present edition is taken up— this low + I1At V™. f ~ BKUintlW 

price will be in force, but on the next edi- 4 Franklin Square, N. Y. 

tion — the price must be higher. 4 Please send me MARK TWAIN'S WORKS. I may keep 

If YOU send the COUPOn at once you cafl # this set for ten days for examination and return it to yoi^ 

have your set at the low price— but * ?ty° , w. e SP e 5? e '.>?. 1 4P no J Wi 

send the coupon at ones. 

Harper & Brothers / 

1817 NEW YORK 1917 #* 



._ If I keep the books i 

?mit S2.U0 within five days and $2.00 a month for twelve 

M. P. M., 10-17 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 



— — — ^ 


somsrm m^ or wjtemest $®n j-ygfurgop 



WE START YOU £N BUSINESS, furnishing everything; 
men and women, $30 to $200 weekly operating our "New 
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free. Ragsdale Co., Drawer 91, East Orange, N. J. 

vested with us has made others $290 in few months. 
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done. This magazine gives facts about the real earn- 
ing power of money. Tells how many have started on 
the road to fortune. We will send it three months 
FREE. If you want to make money, write for this 
magazine today. Hoffman Trust Company, 722 Carter 
Bldg., Houston, Texas. 

Agents — 500 Per Cent. Profit. Free Sample Gold and 
Silver Sign Letters for store fronts and office windows. 
Anyone can put on. Big demand everywhere. Write 
today for liberal offer to agents. Metallic Letter Co., 

405 N. Clark St., Chicago, U. S. A. 

AGENTS MAKE BIG MONEY. Fast office seller; fine 
profits; particulars and sample free. One Dip Pen Co., 
10 Daily Record Bldg., Baltimore, Md. 

INVENT SOMETHING. Your ideas may bring wealth. 
Free book tells what to invent and how to obtain a 
patent through our credit system. Talbert & Parker, 
4100 Talbert Bldg., Washington, D. C. 

Hosiery and Underwear Manufacturer offers permanent 

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$50.00 to $100.00 monthly. All or spare time. Credit. 
H. Parker Co., 2733 No. 12th St., Phila., Pa. 


AGENTS — GET PARTICULARS of the best paying 
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Mgr., 5133 3rd St., Cincinnati, O. 

Wedding Invitations, Announcements, etc., 100 in 

script lettering, including inside and outside envelopes, 
$2.75; 100 visiting cards, 75 cents. Write for samples. 
M. Ott Engraving Co., 1017 Chestnut St., Phila., Pa. 


Wanted — Men and women, 18 or over, everywhere, for 
U. S. Government life jobs. War necessitates hundreds 


appointments. $75 to $150 month. Short hours. Va- 
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OLD COINS WANTED — $4.25 each paid for U. S. 

Flying Eagle Cents dated 1856. $2 to $600 paid for 
hundreds of old coins dated before 1895. Send TEN 


successful write us. We show you how to secure and 
hold profitable positions in pictures, vaudeville, lyceum 
and legitimate work. New plan. Information free. 

cents at once for New Illustrated Coin Value Book, 
4x7. Get posted — it may mean your good fortune. 
C. F. Clarke & Co., Coin dealers, Box 99, Le Roy, N. Y. 

Actors Bureau, Dept. M, Jefferson City, Mo. 

Stop Being a Drudge. Get into newspaper work and 
draw big pay, get free tickets to everything. Expert 
of 23 years' experience will teach you by mail to be 
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Also show you how to earn while you learn. It's prac- 
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H. P. Weller, Desk 14, Binghamton, New York. 

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IS HE CRAZY? The owner of a plantation in Mis- 
sissippi is giving away a few five-acre tracts. The 
only condition is that figs be planted. The owner 
wants enough figs raised to supply a Canning Factory. 
You can secure five acres and an interest in the Fac- 
tory by writing Eubank Farms Company, 939 Key- 
stone, Pittsburgh, Pa. They will plant and care for 
your trees for $6 per month. Your profit should be 
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giving away such valuable land, but there may be 
method in his madness. 

good Government positions. I can coach you by mail 
at small cost. Full particulars free to any American 
citizen of eighteen or over. Write today for Booklet. 
C. E.-73, Earl Hopkins, Washington, D. C. 

Government Positions Pay $900 to $1800 a Year. Write 
for 64-page book telling how to secure a position. 
Send no money — just write postal to Patterson Civil 
Service School, Box 1408, Rochester, N. Y. 

Hundreds Government War positions open. Men — 
women wanted. $100 month. Write immediately for 
list. Franklin Institute, Dept. F-119, Rochester, N. Y. 


BE A DRAFTSMAN. Big pay; tremendous demand. 
Our students quickly qualify for good positions. Com- 
plete, practical course; drawing instruments FREE. 
We help you secure position when Qualified. Columbia 
School of Drafting, 21 McLachlen Bldg., Wash., D. C. 

10 cents. Special trial offer, any size, 6 prints free. 
Or 6 prints from Kodak negative, any size, for 10 
cents. 8x10 mounted enlargements, 35 cents. Ro- 
anoke Photo Finishing Company (formerly Roanoke 
Cycle Co.), 206 Bell Ave., Roanoke, Va. 


FIVE BRIGHT, CAPABLE LADIES to travel, demon- 
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road fare paid. Goodrich Drug Company, Dept. 60, 


Omaha, Neb. 

removed with root; no electricity nor poisonous drugs; 
absolutely harmless and painless; write for particulars, 
or call for free demonstration. Mme. Berthe, Special- 
ist, 12 West 40th St., N. Y. 

LADIES TO SEW at home for a large Phila. firm; good 
pay; steady work; no canvassing; send stamped en- 
velope for prices paid. Universal Co., Dept. 45, 
Walnut St., Philadelphia, Pa. 

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Patents Secured or Fee Returned. Actual search free. 
Send sketch. 1917 Edition 90-page patent book free. 
My free sales service gets full value. 
Geo. P. Kimmel, 262 Barrister Bldg., Washington, D. C. 

Patents. Write for List of Patent Buyers who wish to 
purchase patents and What to Invent with List Inven- 
tions Wanted ; $1,000,000 in prizes offered for inventions. 
Send sketch for free opinion of patentability. Four 
Guide books sent free upon request. Patents advertised 
Free. We assist inventors to sell their inventions. 
Victor J. Evans & Co., 833 Ninth, Washington, D. C. 

advice Free. Highest references. Best results. 
Promptness assured. Watson E. Coleman, 624 F. 
Street, Washington, D. C. 

PATENTS. R. Morgan Elliott & Co., Patent Attorneys, 
Mechanical, Electrical and Chemical Experts. 720-728 
Woodward Bldg., Washington, D. C. 

INVENT SOMETHING. Your ideas may bring wealth. 
Free book tells what to invent and how to obtain a 
patent through our credit system. Talbert & Parker, 
4100 Talbert Bldg., Washington, D. C. 

IDEAS WANTED — Manufacturers are writing for pat- 
ents procured through me. Four books with list hun- 
dreds of inventions wanted sent free. I help you 
market your invention. Advice Free. R. B. Owen, 121 
Owen Bldg., Washington, D. C. 


$100 to $200 Profit Weekly. Complete Moving Picture 
Outfit, Machine, Films, etc., furnished on easy payment 
plan. No experience needed. Free book explains every- 
thing. Monarch Film Service, Dept. 7-A, 228 Union 
Ave., Memphis, Tenn. 


Song Poems Wanted. Big Demand. Writers receive 
over $1,000,000 yearly from publishers. Send for Na- 
tional Song. Music and Sales Service Booklet. Brennen, 
Suite 66, 1431 Broadway, New York. 

"MANUAL OF SONG WRITING, Composing and Pub- 
lishing." A new book indispensable to song writers. 
Price 25c. H. A. Bauer, 135 East Thirty-fourth St., 
New York. 

Songwriters "Manual & Guide" Sent Tree. This valu- 
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compose and arrange music, secure copyright and 
facilitate free publication or outright sale. Start right. 
Send us some of your work to-day for free examination. 
Knickerbocker Studios, 126 Gaiety Building, N. Y. City. 

music and guarantee publisher's acceptance. Submit 
poems on war, love or any subject. Chester Music 
Co., 1039 Wilson Ave., Suite 110, Chicago. 


STORIES, POEMS, PLAYS, ETC., are wanted for 
publication. Good ideas bring big money. Submit 
MSS. or write Literary Bureau, 134, -Hannibal, Mo. 


EARN §25 WEEKLY, spare time, writing for news- 
papers, magazines. Experience unnecessary; details 
free. Press Syndicate, 457 St. Louis, Mo. 


AUTHORS — Our method of handling photoplavs is 
different. We accept photoplays or ideas in any form, 
make needed revision, and secure copyright. Copy- 
right enables us to make duplicate copies and submit 
to every film company in the market at one time. 
Advantages of our system: Revision by competent 
staff; protection by copyright; submission to all com- 
panies, not simply a few; results obtained in quicker 
time; better prices on account of competition. And 
our fee for this service is reasonable. 10% commis- 
sion for selling. National Photoplay Sales Co., Box 
422, Des Moines, Iowa. 

WRITE PHOTOPLAYS in spare time and earn money. 
Try It. Big Prices Paid; Constant Demand; No Cor- 
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Whiteman St., Cincinnati, Ohio. 

See Here! We want your ideas fqr Photoplays and 

stories! Submit them in any form. We'll criticise 
them Free and sell on commission. Producers pay 
big prices. Get details now. Manuscript Sales Co., 
95 Main, Poughkeepsie, N. Y. 

Wanted — Your ideas for Photoplays, Stories, Etc.! We 

will accept them in any form — fully correct — then sell 
on Commission. Big Rewards! Make money. Get free 
details now! Writer's Service, Dept. 2, Auburn, N. Y. 

I Typewrite Photoplays, Short Stories, Poems, etc., in 
manuscript form, furnish author with two copies, 
selling instructions, etc. Neatness guaranteed. Sub- 
mit script, enclosing return postage. Write to-day! 
H. lu. Hursh, 123 So. Third, Harrisburg, Pa. 

WE WANT good, original ideas for photoplays. Sub- 
mit ideas any form. Cash offer if acceptable. Unavail- 
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land Motion Picture Co., Box 469, Des Moines, la. 


companies; big pay. Details Free to beginners. Pro- 
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FREE — Send today for "Model Scenario & Photo- 
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"An Even Break" (Triangle). — Lambert 
Hillyer, the author of Olive Thomas' second 
screen venture, deserves to be a "proud 
father," if he isn't. The opening scenes of 
childhood play and day-dreams are jewels of 
inspiration, and make a fine-set motivation 
for the plot. Mrs. Thomas' dancing in the 
much-touted cabaret scenes is frankly disap- 
pointing; her facial play and posing are 
good for a beginner in screen technique. 
Charles Gunn in every way shows the fin- 
ished studio actor. Should be a popular play, 
even tho the theme is a bit threadbare. 

E. M. L. 

"Parentage," Hobart Henley's feature 
photoplay, is a splendid message to all 
fathers and mothers, without being in the 
least in the nature of propaganda. The 
story simply and impressively shows how 
environment and parental training will bear 
fruit in the after-life of the child. "The 
boy is the father of the man" was never 
so aptly and clearly illustrated as in this 
very interesting and well-drawn picture. 
Two families live their lives in the pic- 
ture. In the one, the father is a grouch — 
harsh, even cruel, to his boy, and neglectful 
of W T ife and family generally. He is also 
very much of a grafter. In the other family, 
father, mother, and boy go thru life with 
the golden rule of love ever uppermost in 
their lives. The father's honest business 
dealings stand out in strong contrast to the 
crookedness of the other man. The sons 
simply perpetuate the virtues and vices of 
their respective parents. As for depicting the 
many-sidedness of human nature, "Paren- 
tage presents almost every conceivable type, 
especially child types. They are delightful in 
their truth and naturalness. The story is not 
by any means a sombre one. Laughter and 
tears commingle in a most fascinating way, 
and some of the children in the Owenton 
district school show marvelous ability as 
comedians and comediennes — their inherent 
sense of humor bringing many a hearty 
laugh to the audience. Frank Goyette, as 
Robert Smith, Jr., the boy, and Hobart 
Henley, as Robert Smith, Jr., the man, both 
act their roles naturally and convinc- 
ingly. Master Goyette, with his sweet face, 
in which honesty and chivalrous manliness 
simply shine, makes many a father and 
mother earnestly wish that they possessed 
such a boy. The direction and photography 
of the picture are admirable. 

T. H. C. 

"The Gifts of the Magi" (Broadway 
Star Feature). — One of the most heart- 
touching of the O. Henry stories. Patsy De 
Forest is simply splendid as the young wife 
who sells her beautiful hair to buy a gold 
watch-chain for her husband, who in the 
meanwhile has pawned his watch in order 
to buy his wife a beautiful comb for a 
Christmas present. A most human bit of 
real life, excellently directed and most 
naturally acted. P. A. K. 

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"The Crystal Gazer" (Lasky). — In spite of 
the fact that the mercury was registering 
ninety-nine in the shade, that my head felt 
as if an iron band of pain were pressing its 
small contents together, that I felt I hated 
every "picture" in existence, "The Crystal 
Gazer" had not nickered two seconds before 
I was completely absorbed. There sat I, and 
unconcernedly mingled my tears with my 
perspiration. The story is that of two little 
girls whose male parent dies in the mur- 
derer's chair, and whose mother commits sui- 
cide. Little Rose is adopted by a rich judge, 
while the less fortunate Norma is brought 
up by a woman of the tenements.* There 
she is discovered by a fortune-telling hypno- 
tist who makes her his hypnotic subject. 
Because of Norma's beauty they become so- 
ciety's fad. Within the charmed social circle 
Norma meets Rose and her millionaire 
fiance. Struck by the strong resemblance, 
the fortune-teller unearths their relationship 
and tries to bully money out of Rose. In 
order to save her fiance from marrying her 
out of pity or being blackmailed, Rose breaks 
off her engagement and flees. Her fiance, 
lonesome and broken-hearted, turns to 
Norma, consoled somewhat by her resem- 
blance to his Rose and her need of him — 
the hypnotist having made Norma's life un- 
bearable with his love-making. But the 
hypnotist is killed by his jealous wife; and 
Rose, free, returns to tell her fiance all 
— only to meet him at a house-party, en- 
gaged to her sister Norma. Each sister tries 
to sacrifice herself to make the other happy, 
but in the end Norma saves Rose from a fire 
but gives her own life, thus leaving Rose to 
the man who really loves her. "The Crystal 
Gazer" is a dramatic masterpiece. Fannie 
Ward, unusually beautiful, gives two cleverly 
distinctive characterizations as the two 
sisters. The dea+h-bed scene deserves to be 
ranked among the great moments in "pic- 
tures." Jack Dean is satisfactory as the 
hypnotist and Harrison Ford is most attrac- 
tive as the fiance. H. S. N. 

"The Message of the Mouse" (Vitagraph). 
— A play of plots and counter-plots, spies and 
secret-service men, woven about the present 
war, and using our securing a merchant 
marine as a basis. A girl in the person of 
Anita Stewart runs to earth the spies and 
saves the U. S. shipyards. One is inclined 
to set some of the incidents down as im- 
probable, but as a whole the play is decidedly 
entertaining. Anita is always a pleasure to 
behold, because of her complete naturalness. 

P. A. K. 

"The Love That Lives" (Famous Players). 
— Pauline Frederick in a most unusual and 
awe-inspiring characterization. It deals with 
a mother love that lives even if it is a very 
foolish mother love that sells itself to pro- 
cure a proper upbringing for its son. Well 
produced and splendidly acted, it is almost 
depressing in its realism. 





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"The Flame of the Yukon" (Triangle).— 
A picturization of the Alaskan gold rush 
and the dance-hall girls. Dorothy Dalton is 
indeed flamingly beautiful as the dance-hall 
girl whose soul is reborn by a great love. 
Atmosphere and period are consistently car- 
ried out and the picture moves along with a 
snap and vim that is highly commendable. 

H. S. N. 

"Man and Beast" (Butterfly Universal). — 
For sensational animal acts this picture is 
worth while seeing; for pure thrills and wild 
escapes it's there; but judged as a seriously 
directed work of art, it is sadly anti- 
climacteric. Three years of married life, in- 
cluding motherhood, find pretty Eileen Sedg- 
wick still wearing her hair down her back 
and acting like a kittenish maiden -instead 
of a grown woman. Nevertheless, the jungle 
scenes and animals are very wonderful, to 
say the least. H. S. N. 

"In Slumberland" (Triangle).— The Tri- 
angle Kiddies in a lovable and picturesque 
reproduction of a tale of old Ireland. The 
young mother and father of the piece are 
extraordinarily natural and attractive actors, 
but are not named on the screen. 

P. A. K. 

"Borrowed Plumage" (Triangle). — Tri- 
angle has a strong leaning towards Ireland 
of late. This romantic tale of a kitchen-maid 
of Ireland, in the time when John Paul Jones 
sailed the seas, is fragrant with the charm 
of old-time customs and costumes. Bessie 
Barriscale is very lovely as the Irish maid, 
who has an opportunity to play lady in the 
borrowed plumage she had so longed for. 
The comedy element is worked for a little 
too obviously to be perfectly spontaneous, 
but, as a whole, the picture is fascinating. 

H. S. N. 

"The Cook of Canyon Camp" (Morosco). — 
A typical George Beban Italian character 
sketch with much enthusiastic — indeed, I 
might say too much enthusiastic — jumping 
about on the part of the Italian-inclined 
George. Helen Eddy gives an exceedingly 
natural portrayal of the "cook's" jealous 
love. The scenery is magnificent. 

P. A. K. 

"The Sawdust Ring" (Triangle). — A play 
that takes us back to the days when we 
saved our pennies for weeks before circus 
day and then played circus in the back- 
yard with the clothes-line, the dog and the 
neighbors' children for weeks after. As little 
Janet Magie, Bessie Love is wistfully appeal- 
ing; and Alfred Hollingworth is inimitable 
in his portrayal of the gawky, half-grown 
boy, Steve Welson, who takes the family 
horse and Janet and adventures forth to 
"start a circus." Josephine Headley as 
Janet's mother, and Jack Richardson as Col. 
Simmonds, owner of a real circus and dis- 
covered by Janet as her "Daddy," do excel- 
lent work. A charmingly wholesome play. 

L. M. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 




"Peggy, the Will-o'-the-Wisp" (Metro). — 
An old-fashioned, slow-moving photoplay of 
eld Ireland. Mabel Taliaferro is the only 
hopeful ray in it. H. S. N. 

"Forbidden Paths" (Lasky). — The greatest 
of heroics is the sacrifice of self. A man so 
loves a young girl that he takes the adven- 
turess wife of the young lad she loves out 
in his motor-boat and sees to it that both 
perish, thus leaving the young girl and boy 
free to wed and not go the forbidden way. 
Here is a splendid study in motivation and 
heart-gripping drama, mingled with the ap- 
pealing acting of Vivian Martin, Sessue 
Hayakawa and Tom Forman. In an other- 
wise perfect picture, the eyebrow grimacing 
of Carmen Phillips was all the more notice- 
able. Her make-up was terrible and her 
effort to be emotional worse. H. S. N. 

"Dulcie's Adventure" (Mutual). — There is 
lack of strong plot and punch in this sweetly 
simple photoplay, and dainty Mary Miles 
Minter suffers from a lack of something 
definite to do. Allan Forrest injects a few 
vital sparks into the piece, otherwise it runs 
along placidly and prettily to a satisfactorily 
anticipated ending. H. S. N. 

"Time Locks and Diamonds" (Triangle). — 
The cleverest crook play produced in many 
a month. William Desmond, suave and 
polished, dominates the whole picture as the 
man who, sent to prison because of the 
thievery of his business partner, turns 
crook. His young sister returns from the 
convent and he reforms for her sake. But 
an old pal is sent up, and, in order to pro- 
cure the necessary money to save him, Des- 
mond does one more job. The way he gees 
away with it and regains the money stolen 
by his old-time partner is the slickest bit 
of crook work seen in many a day. Then 
come real reformation, love, and hope, in 
a. new land. Young Mildred Harris and 
Gloria Hope lend sufficient support — this be- 
ing a case of excellent story carrying the 
picture to success. H. S. N. 

"Sunny Jane" (Horkheimer-Mutual). — In 
the first place, Jackie Saunders plays the 
title role. Then, she has a very good story, 
and a juvenile leading-man, Cullen Landis, 
whose work in a typically Jack Pickford-ish 
part is immense! Frank Mayo, as the hero, 
is very, very good. There is, of course, the 
usual match-making, fortune-hunting mam- 
ma (Mollie McConnell), a most aristocratic- 
looking grande dame; her daughter, an un- 
attractive younj woman (Claire Glenn), 
who is in love with the usual "poor-but- 
proud young man" (R. Henry Gray). But 
the play is good, despite these usual and 
commonplace accessories. Miss Saunders 
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scenes in the life of Mary, Queen of Scots, 
and then switches to a "bit" as Cleopatra, 
in which settings and atmosphere are very, 
very good. A most enjoyable, refreshingly 
wholesome, little tale. R. B. C. 

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"The Little American" (Famous Players- 
Paramount). — In this timely film Mary 
Pickford, as Angela Moore, the little Ameri- 
can girl who braves the war zone, appears 
in one of the greatest dramatic efforts of 
her career. The torpedoed and sinking ship 
in which Angela goes abroad, in order to be 
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ject; remarkable battles on land and sea, 
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"His Naughty Thought" (Keystone). — 
Mack Swain and Polly Moran work very, 
very hard to make this a really funny com- 
edy — and they have succeeded in spots. 
Polly Moran is a clever comedienne, with, 
apparently, an absolute lack of regard for 
her safety or life. Mack Swain furnished 
acceptable support. The two "drunks" on a 
"liquid shopping trip" furnish an amusing 
bit. R. B. C. 

"Periwinkle" (American-Mutual). — Any- 
thing that carries Mary Miles Minter's name 
as star is bound to attract more or less 
attention from the spectators. But "Peri- 
winkle," this little star's latest piece, has 
more than that to attract. First of all, it 
is a good, simple, wholesome little story, 
admirably directed by James Kirkwood. The 
location — a storm-swept New England coast. 
The men of the life-saving crew find a baby 
girl on the beach, after a storm, and she is 
brought up by them with the assistance of 
Ann Scudder (Anne Schaefer), a queer, 
repressed soul who worships the girl. Later 
on, another storm sweeps up a somewhat 
dissipated but, oh, so very fascinating young 
man (George Fisher), who promptly takes 
little Periwinkle's heart by storm. You can 
imagine the rest. Not a great play, but a 
charming one. R. B. C. 

"The Car of Chance" (Bluebird-Universal). 
— Two or three years ago, the movie screen 
was infested with would-be imitators of 
"Little Mary." And now they're picking on 
Douglas Fairbanks. Every actor who ever 
faintly imagined himself a juvenile leading- 
man has aped poor "Doug," until that gen- 
tleman is getting a badly creased brow. All 
of which is merely by way' of saying that 
"The Car of Chance" is a starring vehicle 
for another Fairbanks imitator in the person 
of Franklyn Farnum. The story is fair, tho 
none too fresh. Agnes Brownie Vernon, 
Little-Girl-Afraid-of-Her-Name, is merely 
mediocre in this, when she is really capable 
of excellent work. Another case of "the 
little bird who can sing, but wont sing." 

R. B. C. 

When answering advertisements kindly mention MOTION PICTURE MAGAZINE. 




"The Mother Instinct" (Triangle). — A pic- 
ture that excels in atmosphere, sea-scenery, 
acting and plot. The denouement is not only- 
exciting but quite unexpected. Enid Ben- 
nett and Marjory Wilson are the attractive 
headliners. P. A. K. 

"A Strange Transgressor" (Triangle). — 
Louise Glaum's art is indeed vital. Here 
she takes the part of a vampire, who is at 
heart a good woman; and she makes us 
feel and understand every little shade of 
the woman's tortured soul. A luxuriously 
produced and gowned photoplay, replete with 
thrills and realism. P. A. K. 

Constellation Prize Contest 

The neat little contest announced in the 
August Magazine dusted the cobwebs clear 
from the domes of many of our readers. An 
original verse was given, written by Mrs. Irma 
C. Wilson, 4015 Fremont Ave., Seattle, Wash., 
which carried the concealed names of a con- 
stellation of stars, and it was required that 
each reader of the puzzle amuse himself by re- 
writing a verse preserving the rhyme and spell- 
ing the names of the stars correctly. Here 
is the original verse : 

Lou, tell again Lee's little story, 

How strong, furry lions drew Morey 

Close a stonehouse, grey, 

One sweet, lovely May, 

An' "et" ham an' heart with true glory! 

The first correct answer was received from 
Jenny Fine, 512 Clinton Street, Cincinnati, O., 
and her verse is as follows : 

Lou-Tellegen Lee's Little Storey, 

Howe Strong, Furey, Lyons Drew Morey, 

Close a Stonehouse Grey, 

One Sweet, Lovely, May, 

Annette ham Ann Llart with True Glorie. 

Herewith follows the correct and complete 
list of stars mentioned : Lou-Tellegen, Lee 
Moran, Anna Little. Edith Storey, Betty Howe, 
Eugene Strong, Elda Furey, Eddie Lyons, 
Sidney Drew, Harry Morey, Ivy Close, Ruth 
Stonehouse, Gordon Grey, Blanche Sweet, 
Louise Lovely, May Allison, Annette Keller- 
mann, Lloyd V. Hamilton, Ann Pennington, 
William Hart, True Boardman and Gloria 
Fonda. Miss Fine therefore wins the first 
prize, a year's subscription both to the Motion 
Picture Magazine and the Motion Picture 
Classic. The second correct rhyme and list 
of players was received from Edythe E. 
Wheeler, 8 Plymouth Place, Brockton, Mass., 
who receives a year's subscription to the 
Motion Picture Classic. The third correct 
rhyme and list was received from Viola Gau- 
dette, 143 W. Hollis St., Nashua, N. H., who 
receives third prize, a year's subscription to 
the. Motion Picture Magazine. All of our 
readers who contested are complimented upon 
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SEP -41917 ©CIB394606 

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Vol. XIV October, ^ly 1917 No. 9 


Cover Design. Painting of Clara Kimball Young ...... Leo Sielke, Jr. 

Photoplay Reviews . 10 

Art Gallery of Popular Players. Printed by the Rotogravure Process .... 19-26 

Children Who Support Grown-up Stars. News and views of starlets and kids of the 

screen . . . . . . . . . . . . Mary Abbott Lodge 27 

The Rise of Bessie Love. How a high-school girl of sixteen became a picture star in a 3ear 

Stanley W. Todd 33 
Do You Think Fd Stay at Home? A neat bit of movie war news . . Pearl White 38 
Making Money with a Motion Picture Camera. What a live man can do in his home town 

Ernest A. Bench 39 
The Art of Slinging Pie. Comedy in a custard . . . . A. B. Bemd 45 

How Players Got Their Names. Interesting nuggets of information about real names and stage 
names .............. Peter Wade 47 

Rebecca of Sunnybrook Farm. A cozy country short-story featuring Mary Pickford 

Dorothy Donnell 49 
Stories That Are True. Personal experiences of noted players told by themselves in camp- 
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A Story-Book Romance. Concerning a real live Count and Rita Jolivet Roberta Courtlandt 63 
THE MORALITY OF THE MOTION PICTURE WORLD. A big continued story— the private life of the 

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Limericks. Monthly prize contest for the best jingles ^ 75 

"Sweet Miss Mary" ("Sweeter dan yo' know!"). Being an interview with Mary Charleson 

Martha Groves McKelvie 77 
As They Grew Up. The original baby pictures and the crying stage of Earle Williams, 

Viola Dana, Alice Joyce, Anita Stewart and others . . . . Lillian Montanye 79 

Wallace MacDonald. A new screen star. Photo .89 

Ruby's War Scare. Comic drawing . . ..... Walter Swaffield 90 

Ruth Roland Is Not a "Neglected Wife." Photo 91 

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and market-places Henry Albert Phillips 101 

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Wanted : Soldiers of the Soil. A sight-seeing trip among the Movie Farmerets and their 

garden-plot camps ...... Lillian May 111 

Afloat with Our Camera-Girl. The adventures of a girl reporter . . . Nance Monde 117 

George Walsh and Anna Luther. Photos 121 

Comments in Black and White. Comic drawings ...... /. Argcns 122 

Movie Gossip-Shop. Pictured news sauced with tittle-tattle from Screenland .... 123 

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<^/er^offfioib : 7) l ai/i?js 

Anita Stewart, Vitagraph's brightest luminary, has recovered from her recent illness and 

again appears before her army of friends in "The 

Message of the Mouse." 



■ » 



Tom Forman, the young Texan rancher who has ridden roughshod into the front ranks of the silent stage, 
continues to please Lasky as well as his audiences by ably supporting nearly all of their collection of stars. 

Pauline Frederick lays a claim to first honors for variety of parts— scrubwoman, flower-girl, countess and 
gypsy are a few of the latest lives she has led. 

* * - 

makes her reappearance in the "Mysterious Miss Terry" under Lasky management. 

Montague Love, altho an English- 
man, was not at all miscast in 
"Yankee Pluck." The World 
Company has found a worthy leading, 
man to play up to its emotional stars. 
The deeper "The Brand of Satan" 
burns, the better he seems to like it. 

© White 

When "The Beautiful American is spoken of abroad or in South America, it is understood that Pearl White is 
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That temperamental diva, Geraldine Farrar, has again IB 
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i ^£ < wt ^*^p 

z/zxren J'Jme Support « 



How times have changed, to be sure ! 
Time was when grown-ups took 
life seriously and shouldered the 
responsibilities belonging to their age 
and position. Not so today, as a glance 
at these pages will suffice to show. Here 
are children (and these are only a few 
of the large number in filmland) who 
are actually "supporting'' grown-up stars, 
and men at that! But the children are 
not complaining ; they are quite willing — 
bless their hearts ! — and exceedingly ca- 
pable, as we who love to watch their 
engaging- grace of movement in childish 
pantomime can testify. 

One day in - Culver City a certain 
director was out for his "constitutional," 
but keeping his eyes wide open, as 
directors have a way of doing, and he 
saw a little girl acting out an impromptu 
scene with her dolls 'on the porch of her 
home. He stood watching her a few 
moments, then sought an interview with 
her mother. The little one was brought 
to the studio, and it was found that she 
could act even better before the camera 
than with her dolls, and thus did little 
Thelma Salter have "greatness thrust 
upon her." In ■ "The Crab," as an 
orphaned waif she "supports" Frank 
Keenan, a cantankerous grouch (in the 
picture) who adopts her, but is far from 
being an ideal father. But the 
little waif is so sweetly lovable and 
so appealingly grateful for even 

the semblance of a home that she wins 
him in the end, and he gives her a real 
home and a father's love. 

"Billy Boy" doesn't look so serious as 
Thelma — but all the same he is "sup- 
porting" people, too. He is best known 
for his work in Kalem's railroad series, 
"The Hazards of Helen," tho the per- 
sonal hazards of Billy are almost as great. 
He is called the "nerviest boy in the 
movies," and perhaps he is, for his work 
itself takes nerve, and just now when the 
high cost of living is mounting skyward, 
it is some stunt for him not only to 
"support" Helen Gibson, but also his 
really truly father, True Boardman. But 
he does it as cheerfully as he trudges off 
to school between studio hours, or plays 
with Teddy, the Kalem dog. 

Little Zoe Du Rae is one of the greatest 
little emotional actresses on record, and 
she likes her wo k so much and it comes 
so naturally to her that it's not work at 
all. When she's not acting at the studio 
she is acting with her dolls in her own 
home, dragging her mother, the servants, 
her pets and everything available into 
the "set." She is such a fascinating, win- 
some little person and .so utterly un- 
spoiled that star seems like a big word 
to apply to her, a mere baby, but Zoe 
deserves the scintillating term. Her 
mental and physical resources are 
remarkable, and it is fortunate fov 
Zoe, for this little star is "supporting" 

thelma salter and 

frank keenan in 

"the crab" 

two other stars — 
grown-up ones at 


Zoe isn't 

the y 
star. There's three- 

o u n g e s t 



year-old Alary Jane Irving, 
and isn't she an adorable 
baby? One just longs to 
gather her u p — p ink, 
,-riggly toes, chubby fin- 
er s, soft, cuddly body 
and all — and run away 
with her. But it cant 
be done, as she has a 
job. She takes it quite 
seriously, too, as one can 
tell by her expression. 
And why shouldn't she 
when she is "support- 
ing" William S. Hart? 
'Way down in the 
Carolinas, not m a n y 
years ago, a baby-girl 
was christened Margaret 
Dorrit Newton Lind- 
ner, but the long string 
of labels soon slipped 
from her, and she is 
known now as Dodo 


_ *"*■'■ 

§F ^ 

■'• , r n 


H ^ 





SbP^^ 1 '' '<pfc 

" - • 

STARS / . 


Newton. Her K 

grandparents and %> 
parents were all 
stage people, so it ' - , 
w a s quite natural \ 
for Dodo to take up X. 
their profession. 
However, Dodo has been 
very carefully brought 
up, and is an exceed- 
ingly attractive little 
girl, tho she has never 
been reconciled to the 
fact that she was born a 
girl instead of a bo y. 
She is quite in her ele- 
ment when playing 
boy parts and very suc- 
cessful, too, which is for- 
tunate, for it enables her 
to " s u p p o r t " W i 1 1 i a 

Just at the moment 
looks as tho the "Tha 
houser Kidlet," little Helen 
Badgley, was tired of the 
"supporting" business. She 
has had a long aeroplane 
ride, and "A Modern 
Monte Cristo" was rather 





strenuous all the way thru. But wait 
until she has rested a little while in the 
dressing-room (of which she is very 
proud, for it was fitted up just for her) 
and the irrepressible Helen will be as 
good as new. She is a tiny mite of a 
girl, but quite competent and very wi 
ing to ''support" Vincent Serrano. 

''Girls dont do it all," says little 
Georgie Stone. And all who saw 
the brave, dauntless little fellow as 
Little Breeches in "Jim Bludso" 
will agree. As we see him here he 
is doing nothing more thrilling than 
swearing allegiance to his country with 
his friend Monte Blue. But in an- 
other scene we see him jump from a 
burning steamboat (of which 
his father, Wilfred Lucas, f® 
s-^ 7 is captain) \ 

Q ■-) into 

sortie one else, but insists on taking his 
own car and driving it, too. Of course 
the money that went for the automobile 
was "extra" money, and Georgie did 
pretty well to save it from his earnings, 



the river and dauntlessly swim to shore. 
However, that is all in the day's work 
with Georgie. What he is really proud 
of is that he has earned enough money 
to buy a real automobile, and when the 
company goes "on location' 'he is not con- 
tent to be tucked awav in a corner with 

for he not only "supports" Monte Blue, 
but Wilfred Lucas as well. 

Kittens Reichert (and that's her hon- 
est-to-goodness name, too) is one of the 
most beautiful and talented children in 
Screenland. With all that, she is just 
like any normal little girl. In fact, she 



wont go to the studio or on location 

without her family of dolls, and she likes 

h a & anies an d pets, and 

M A even likes her les- 

$&t* M%i sons — i )erna P s ^ )e_ 

Bp, JSjJL cause she doesn't 
~~ J have to £0 to 

being "supported" by "Little Mary 

When this adorable baby is a grown- 
up leading-lady she can use her own 
name, Helen Marie Osborne. 
But just now "Little Mary 
Sunshine" suits her much 
better, for she is sunshine 
and radiant joy per- 
sonified. And she is 
so well on the road 
to fame and fortune 
that she could "sup- 
port" (in all the 
uxur y to 

school as yet, but takes her books and 
second-grade paraphernalia to the studio 
and studies there under the direction of 
Mamma Reichert. But, with all the in- 
teresting things that come 'into her life, 
there is nothing she likes quite so well 
as acting in pictures. And instead of 
looking upon it as a hardship/she counts 
it a privilege that she is called upon to 
"support" William Farnum. 

In ''Shadows and Sunshine," one of 
the charming plays written especially for 
her, "Little Mary Sunshine" is ''support- 
ing" her grandfather. That is, he is her 
grandfather in the picture and doesn't 
know it until the play reaches its happy 
ending. In real life he is Daniel Gil- 
feather, and he is proud of two things — 
of being a member of a company which 
is on record as making and produc- 
ing better films for children; and of 


of stars 
and a 
family of 

it is being 







attended to 

that all 

the money 

earned by this talented little one shall not 

be spent for dolls and automobiles or be 




daniel gilfeather and 


used in "support" of any one. Only a 
short time ago a guardian was appointed 
for her in the courts of Los Angeles, and 
henceforth every cent of her salary must 
be accounted for. And while there is no 
doubt that she will have everything she 
needs — probably a few ice-cream cones 
and extra ponies in the way of luxuries 
— we have the satisfaction of knowing 
that when the sunshiny baby is a grown- 
up lady she will have a good-sized bank 
account and will be quite able to support 
herself, at least. 

The babv star is now in new surround- 

ings, and with a new director, who has 
shown that he possesses wonderful in- 
sight into child psychology, for in her 
new play (with Pathe) Baby Osborne 
has met with every requirement, and her 
conception of the part she plays 
in the wholesome little story, 
"Y\ nen Baby Forgot," is remark- 
able. And, out on the Pacific 
Coast, the Balboa Company is 
trying to get used to life without 
''Little Mary Sunshine," and Henry 
King, her erstwhile director — 
while he has a new baby leading- 
lady to direct, a charming little 
French girl— knows in his inner- 
most soul that there will never be 
for him another one quite .1 i k e 
"'Little Mary Sunshine." 

Little Aida Horton is three 
is years old and rather young 
to "support" anybody — es- 
pecially R o b b y Connelly, 
who is eight and a screen 
veteran of five years' ex- 
perience. But in the "Bob- 
by" series being produced 
at the Anagraph studio, 
this golden-haired "miss- 
ettc"' is doing that very 
-' thing. 

Not long ago Aida 
walked into the office of 
-^ Andre Roosevelt, produc- 
tion manager, and lisped 
that she had an ambition to 
become an actress. Asked 
where her mother was, she 
said she had left her out- 
side "to wait for me." 
She admitted that she had 
no stage training, but that 
she was an actress because she wanted 
to be. She got a job on the spot. 

As they were getting ready to produce 
the one-reel "Kid" series, Aida was put 
in as Bobby's "support," and the produc- 
tion of the series was begun at once. 
The dainty miss proved a revelation as a 
natural-born artiste. She was found to 
be a perfect photographic subject ; also, 
she was found to possess that elusive 
something called screen personality. She 
never has to be told twice what to do. 
She also has an imitable streak of humor 
and extraordinary powers of mimicry. 


^azi/ey Joafef 

If you should ask little Bessie Love how 
she became a Moving Picture star 
almost overnight, she would probably 
tell you that it "just happened." A little 
more than a year ago this fair young 
photoplayer was just ''sweet sixteen," 
attending high school in Los Angeles, 
and trying hard to pore over books while 
her thoughts were elsewhere. She used 


to dream of the day when she could 
emulate Lillian Gish and Mabel Normand 
or any other of a dozen of remarkable 
young people whose personalities have 
been brought before the world by the Mo- 
tion Picture. She did not know then how 
soon her dreams were to come true. 

In Los Angeles, one hears so much 
about Moving Pictures and finds so many 



studios in the Hollywood section, that it 
is not surprising so many schoolgirls have 
ambitions in that direction. Having 
graduated, Bessie Love told her folks 
that she was going to be a Moving Pic- 
ture star, but they did not share her 
enthusiasm and objected strenuously. 
But "Sweet Sixteen" usually has her own 
and Bessie got parental consent to 
follow up her ambition. With 
her braids hanging down her 
back, the schooloirl started * * 


out. Holly- 
wood is onl\ 
a short car- 
ride from down 
town Los Angeles, 
and Bessie Love 
stopped at the first 
studio she saw. It 
happened to be the 


Fine Arts, just 

across the way from the tremendously bi 

ian set used 
by David 
Griffith in his 
"Intolerance." This 
sight, which is still 
with "doug" standing and is im- 

pressive, even to stolid 
Los Angeles people, encouraged Bessie 
to stick to her determination. 



There is always a crowd of extras on hand at the 
studios in the morning, waiting for the chance of an 
assignment to appear in a picture. Bessie Love is about 
five feet high — or tall, if you want to put it that way — 
and she was almost lost in the crowd. ( )ne day her 
opportunity came. It was only a small part, hut she- 
handled it so well that the studio manager was careful 
to put her on his list of permanent extra-. 

It was just about this 
time that John Emerson 
came from the Xew 
York theatrical hoards 
to appear in a Triangle 
picture. It was a "Prepar- 
■ edness" play, in which a 



Swedish servant-girl was given an 
important part in the story. Director Jack 
O'Brien, using the prerogative of directors, imme- 
diately set out to find a type of player who would 
lit the role to a "T." He saw the demure little 
schoolgirl play an extra part in another set ; she 
seemed to be just what he was looking for. Mr. 
Emerson agreed with him that Bessie, made up 
properly, would measure up to the story. She was, 
perhaps, a little inexperienced, but he thought he 
could help the director in encouraging and coach- 
ing the little girl. 

But they didn't know Bessie ; she played her part 
so hard that John Emerson had to step lively to 



hold the first honors that were due him 
as star. Those who saw "The Flying 
Torpedo," released about a year ago, will 
recall the excellent work of the vivacious 
Swedish lass who gave the Professor 
such timely assistance. Bessie's name 
was blazoned forthwith on the film sub- 
titles, and the photoplay world noted that 
another new star — a "find," as they say 
in baseball — had been discovered. The 
extra had been transformed into a 
leading-lady and the critics and photo- 
play fans cried for more of her work. 

The Moving Picture camera is not kind 
to every person who walks in front of it. 
In Bessie Love's case, she photographed 
perfectly, and quickly acquired the tricks 
and artifices of facial expression in act- 
ing for the screen. Her manner was 
subdued and peculiarly her own. Will- 
iam S. Hart was planning another one of 
those virile bad-man- who-reforms-on-ac- 
count-of-a-girl pictures and he wanted a 
girl of Bessie's type as a foil. So Miss 
Love — it sounds so unfamiliar to call her 
that — had her second big opportunity ; 
her temporary transfer to the Ince 
studios followed and her participation in 
"The Aryan" was the result. Again she 
triumphed ; her work would have been a 
credit to a fai> more experienced and 
older player. Her delightful, childlike 
personality was the one particular bright 
spot of a drama that teemed with early 
Western lawlessness and conflict. 

"It was wonderfully interesting," she 
tells the interviewer, in relating the story, 
and we are quite ready to believe her. 

Douglas Fairbanks came clattering into 
Los Angeles, having just completed "His 
Picture in the Papers" and "The Habit 
of Happiness" in the East, under the 
direction of the same John Emerson. 
"Doug" had several new scripts ready to 
start on, one of which he had written 
himself. In fact, he had decided he 
wanted no one else but Bessie Love for 
his leading-lady. Mr. Emerson had given 
him the "tip" and the acrobatic comedian 
was not to be denied. That was even 
before she had finished her work in "The 
Aryan," and so Griffith told Ince to hurry 
up that Hart picture and return borrowed 

As you might ordinarily suppose, Miss 
Love had some lively experiences playing 

opposite to Mr. Fairbanks in a play of his 
own, in which he injected all the athletic 
gymnastics of which he is capable. It 
was "The Good Bad-Man," and the 
young photoplayer was called upon to 
share with him some of the dashing ex- 
ploits of the plot, particularly being 
snatched away on horseback by The 
Wolf and his gang and being rescued in 
the same manner by the nice, not-really- 
wicked highwayman. But the little girl 
was game to the core ; nothing seemed to 
feaze her, and the picture "got over" 
with a bang. 

The wide circulation of the Fairbanks 
films served to augment Bessie Love's 
popularity, a concrete evidence of this 
coming in the form of letters from ex- 
changes telling that the little girl was 
well liked by Moving Picture audiences. 
Miss Love's own correspondence at the 
same time trebled in volume. When 
Douglas Fairbanks planned his next pic- 
ture, "Reggie Mixes In," he insisted on 
having Bessie Love as his lead, and she 
gave further evidences of her growing 
ability. A little later Fairbanks became 
possessed of a keen desire to make a 
comedy out of a day's fun at Long Beach 
playing in the surf with the fad of the 
moment, riding the waves on big, inflated 
balloons designed in the shape of fish. 
In his hodge-podge of film, which he 
called "The Mystery of the Leaping 
Fish," Bessie Love was again the foil of 
the athletic comedian. 

Thus, she had almost risen to the 
heights where it was a case of "Bessie 

Love in " when the pictures in which 

she played came out. But with such a 
distinguished figure as DeWolf Hopper 
to share the honors with her, "Stranded," 
in which she charmingly portrayed the 
young ballet-dancer, was not an out-and- 
out Bessie Love picture. She had a hu- 
man, pleasant part in a stage-life drama, 
which gave Hopper an opportunity to 
show his art as a pompous but penniless 
"ham fat." 

Wilfred Lucas was getting ready to 
make a story of lumber life, under the 
Sherman-like title of "Hell to Pay 
Austin." Here again the diminutive Miss 
Love seemed to fit in the story perfectly, 
and opportunity knocked again. In the 
role of the timid but trusting waif, the 



new star emerged from the last stages 
of inexperience and gave a sympathetic 
interpretation of the child of misfortune. 
She offset Mr. Lucas' virile playing with 
a touch of femininity that added greatly 
to the effectiveness of the character 

Bessie Love later blossomed out into 
stardom in a picture overrun by kiddies, 
the title being "A Sister of Six." Typical 
of a lively, kind-hearted little lady, she 
is verv fond of children, and the making 
of the photoplay was as much fun as 
work, not only for the young star, but 
for the youngsters who played with her. 
It was indeed a very taking picture. But 
Miss Love was now so much in demand 
that she could not waste much time be- 
tween five-reelers. She seemed to have 
a new leading-man in each vehicle, but 
she played equally well with all of them. 

In "The Heiress at Coffee Dan's," for 
instance, she came under the sway of Di- 
rector Edward Dillon, with Frank Ben- 
nett playing opposite in the role of the 
ambitious but poor musician. There was 
something in this picture that seemed to 
strike just a bit nearer home in portray- 
ing the life of people in humble circum- 
stances, who are happier in modest sur- 
roundings than in the rather vapid 
amusement of high society life. Her 
transition from the "beanery" to the 
wealthy home, with the finest gowns that 
the studio wardrobe mistress could give 
her, clearly demonstrated the young 
player's versatility, and gave an inkling 
as to the real reason for her remarkable 
rise in less than a vear. Incidentally, 
Bessie looks mighty well in "regal" 

An entirely different type of role, that 
of a blind girl who recovers her sight, 
was the new star's next effort. In "Nina, 
the Flower Girl," she was a picture of 
faith and cheerfulness, despite the great- 
est affliction that can befall a human 
being. Elmer Clifton, now promoted to 
a directorship in the Fine Arts studio, 
was her unseen hero, misshapen hump- 
back that he was, and the pathetic story 
was prettily enacted. Bessie's blind girl 
was indeed an excellent bit of unaffected 

Bessie Love photodramas have since 
come along thick and fast. One of her 

recent is "A Daughter of the Poor," in 
which she takes the part of a young girl 
with an inherent hatred for wealth and 
all that wealth sometimes implies. She 
finally falls in love with the son of a 
millionaire, posing as a poor chauffeur, 
and when she discovers the awful mis- 
take she has made, the little idealist 
rebels, but finally capitulates. Director 
Dillon also had charge of this production, 
which made a decided hit. Since that 
time. Bessie Love has finished two others, 
one '"Her Family Xame," a comedy- 
drama with a delightful romance inter- 
twined, and her very, very latest. "The 
Spitfire,'' in which she undertakes some 
real, emotional acting. There is a lire- 
scene in which three hundred extras are 
employed, and this is notable in the fact 
that only a year ago Bessie Love was 
one of the extras herself. Roy Stuart is 
her leading-man in this picture. 

Only the Motion Picture could make 
possible this accomplishment of bringing 
nation-wide fame to an unknown school- 
girl, who had never stepped behind the 
footlights on the legitimate stage or who 
had no particular training for acting. 
Yet. like many other young photoplayers 
developed in Los Angeles studios, Bessie 
Love's work is that of a true artiste, 
whose adaptability to pictures has come 
not so much as a matter of experience 
as of latent ability and intelligent and 
helpful direction. 

Best of all, she has not been affected by 
her remarkable success in Moving Pic- 
tures, but is modest, unaffected and truly 
appreciative of the help others have given 
her in forging to the front. Her phil- 
osophy in life ? What sort of a philosophy 
would you expect of a seventeen-year-old 
schoolgirl specially favored by circum- 
stances and ability as she is? Nothing 
but optimism, cheerfulness and good-will 
towards every living soul. Bessie Love 
on the screen is just as you would find 
her in real life — which is everything that 
a girl should be at that interesting point 
in her career. Demure little Bessie, tho, 
believes in living right up to her reputa- 
tion. Her daily repertoire of deeds 
would stagger the average miss — danc- 
ing lessons, rehearsals, "takes" and "re- 
takes" and dramatic studies are only a 
part of her rigid schedule. 

"Do You Think I'd Stay at Home?" 

Howard Chandler Christy's Appreciation of Pearl White 

No sooner had 
the distin- 
artist, Christy, 
designed- the 
Navy poster, 
"Gee, I wish I 
was a man !" 
than the 
Army put 
in its bid 
for h i s 
Mr. Christy 
was readv 
to give the 
magic of his 
brush to Uncle 


Sam, and asked Pearl White to be 
his model. The combined effort of 
his brush and the posing of "Pearl 
of the Army" has created "Do you 
think I'd stay at home?" which wi 
soon carry its message thruout the 
nation. If you doubt that Pearl is 
able to sit an army mount and to be 
a suitable standard-bearer for Old 
Glory, here she is as the Ameri- 
can Joan of Arc. 

Making Money with a Motion Picture j 





The ambitious young man or 
woman determined to break 
into the studios as a regular 
Motion Picture photographer will 
find his or her progress barred by 
the fact that the number of staff 
camera operators is necessarily limited. 
Two hundred-odd reels produced weekly 
by the different manufacturers repre- 
sent the work of about two hundred 
camera-men, taking one thousand feet as 
the weekly average for each. The ranks 
are already overcrowded, and unless you 
have a whole string of successes to your 
credit, your only chance of attaining your 
ambition lies in working your way thru 
the film factory. 

But there is nothing like the school of 
experience as a means of ultimately be- 
coming skilled in this particular kind of 
work — work that is as exacting as it is 
fascinating. You dont need to possess 


unlimited capital to enter the field as 
a free-lance, tho, of course, the more 
money you have at your command the 
more you can accomplish. By com- 
mencing with, say, a fifty-dollar cam- • 
era, plus a few hundred feet of raw film 
stock, and restricting yourself to simple 
local work, you should eventually work 
yourself into the two-hundred-and-fifty- 
dollar professional camera class, your ef- 
forts being shown the country over. 

The free-lance cinematographer, no 
matter whether he resides in a small town 
or a large city, need not complain of the 
lack of opportunities which lie at his very 
door. 1 will dwell briefly upon the prin- 
cipal ways of turning the Motion Picture 
camera to profitable account. 

The latest development is film motion 
portraiture. Were you to be "regis- 
tered" before the exacting lens of the 
Motion Picture camera for eight minutes, 


no less than 7,680 separate portraits 
would be taken at the rate of sixteen a 
second. Each portrait would be a mo- 
mentary record of the sitter's face, and 
not one facial expression would be lost. 
On the screen you would be under the 
eye of the spectator for eight minutes. 
Each of the 7,680 photographs would not 
be a good likeness, but it would be the 
whole number projected in rapid succes- 
sion that would give the faithful picture. 
You can retouch and fake a photograph 
to suit, but you cannot tamper with a 
film. In fact, the only way is to do the 
faking beforehand by making up, and 
this does not always convince. 

Who would not like to have a perma- 
nent record of all the quaint expressions 
that make a baby so adorable ? They are 
lost to us as he grows older, but if he 
were to pose on every birthday we would 
be able to follow every stage of his child- 
hood, and present the precious strip of 
celluloid as an appropriate coming-of- 
age gift. S. H. Lifshey, a Brooklyn pho- 
tographer, makes a specialty of filming 
children in action, and brings out their 
pleasing characteristics. He also shows 
them at play with their pets and their 
favorite pastimes. Children are born 
photoplay actors, consequently they re- 
quire comparatively little coaching. 

A wedding occurs once, and it was 
left to a Frenchman to advertise some- 
thing better than the group photograph. 
"Nuptial Cinema — To Engaged Per- 
sons," read the advertisement. "Do you 
wish to preserve a vivid, living recollec- 
tion of the happiest day of your life? 
Have a film photographed of the cere- 
mony (civil or religious) of your wed- 
ding, and in after years you wjll be able 
to see yourselves on the screen — young, 
loving, full of hope for the future." 

One couple I know who married in 
1909 permit their wedding movie to re- 
pose in the bank, only taking it out on 
each anniversary for their benefit and 
that of loving friends. 

Other occasions on which Motion Pic- 
ture films might be taken are birthdays, 
vacations and other family gatherings. 
By making a practice of recording such 
events, we should find many faults in 
ourselves which we did not believe be- 
fore existed. We would also probably 

be able to correct these manners in de- 
portment, speech and dress, and improve 
ourselves socially as well as in a business 

Go to the local manufacturing plant 
and offer, for a consideration of from 
twenty-five to fifty cents a foot, to record 
on celluloid the manufacturing side of 
the products, the size of the plant, how 
admirably situated it is, and how the 
welfare of the employees is studied. You 
can, perhaps, weave a little story around 
the whole. Suppose the article is ma- 
chinery of some kind. The manufac- 
turer's salesmen cannot take samples 
to the prospect's office or factory, 
and it is difficult to have his product 
shown at conventions, trade shows or 
similar gatherings of men whom he de- 
sires to interest in his product. Until 
recently salesmen depended upon their 
selling ability, aided by photographs, 
drawings and data in regard to the goods 
they were selling. Where the prospect 
wished to see a machine in operation, it 
was customary for the manufacturer to 
pay his traveling expenses to visit the 
plant, but this practice proved exceed- 
ingly expensive and often took much, if 
not all, of the profit from the deal. The 
modern method is to have the salesman 
provided with a reel for demonstrative 
purposes. The salesman is equipped with 
a small portable projecting machine with 
which to show the reel, and in this way 
he is able to show his client all he wants 
to see, with satisfaction to all concerned. 

The real-estate man can find no more 
effective way of selling property and lots 
than by the film. He saves the prospect 
much time and money and gains his 
good-will by not sending him on a fruit- 
less journey. 

City boosters need not compel people 
to imagine what they have to offer; the 
undeveloped territory or pleasure resort 
shown on the screen speaks for itself. 

Societies in need of funds and other 
assistance can secure a better response 
to their appeals by acquainting the photo- 
play-going public with the good work 
they are doing. 

Storekeepers in a fairly large way of 
business will find a short, local comedy 
or dramatic photoplay a big business- 
bringer. The above methods have been 



tried and proven, so you should find it 
much easier to obtain assignments. 
How about forming- an amateur photo- 

shows to run your local productions, it 
will be a feather in your cap, but you 
may prefer to set up in business on your 

play society? When you come to own account. After having com 
think of the millions who attend the 
movies, it is surprising how few en- 
thusiasts have combined to produce 
simple local comedies and dramas. 
All I can assume is that they have 
considered the amateur photoplay 
society far beyond the bounds of 
practical possibility. They have 
made a grave mistake in 
adopting this atti- 
tude, f,o r , in 

pleted your first production, 
write all your friends and ac- 
quaintances soliciting their sup- 
port. Your own film-libran 
will fit in 
like a 

in action — 



proportion to the re- " ^'' 
suits attained, it is little ~ 
or no more expensive than is 
dabbling at ordinary photog- 
raphy on a moderate scale. 
Those with acting ability can 
figure in the cast, while the mem- 
ber possessing the most dramatic 
aptitude should be made the 
director. The talented weaver of 
stories would be the right man for sce- 
nario editor, provided he studied a book 
on photoplay writing and mastered the 
technique of photoplay construction. 
Last, but by no means least, you should 
do justice to the position of camera-man. 
If you can get the local photoplay 

will not feel guilty of 
competing with the regular 
shows in your vicinity, and in 
this way you will be able to re- 
tain the friendship of the exhibit- 
ors and continue to supply their 
special needs. 

You have, of course, the option of 
fixing your own territory, but I would 
recommend your not going beyond a 
radius of several miles. This will secure 
for your pictures a much more enthusi- 
astic reception, because the spectators are 
especially interested in local films, pro- 
duced by local talent, amid scenes and 
things familiar to them. 

Should vou desire further clients, an 


local newspaper, 
forth the charms of a private 
Motion' Picture entertainment for 
social gatherings, clubs, societies 
and lodges, will, no doubt, achieve 
the results for which you strive. 
Usually ten dollars is charged for 
an hour's entertainment, comprising 
about four reels, and five dollars for 
each additional hour. It is advisable 
to vary the films as much as is pos- 
sible, for it is variety on which the photo- 
play industry has been raised to its 
present prominent position. 

Another field full of possibilities is in 
the recording of village pageants, local 
athletics and the like. However good the 
printed page or photograph album may 
be in recalling the past, there is nothing 
to equal, nor excel, the Motion Picture. 
The only way by which we learn history 
is thru the historian's facile pen. Word- 
painting has its limitations, but the cam- 
era cannot lie. Who would not heartily 
enjoy our ancestors come to life again? 
Their quaint style of dress, the houses 
they lived in and the customs that pre- 
vailed at the time, would form a marked 
contrast to the way we live today. We 



should not think of the present, for when 
we have served our allotted span our suc- 
cessors will be as curious about us as we 
are about our ancestors. 

Even today, when a well-known man 
or woman dies, his or her features have 
usually been caught by the Motion Pic- 
ture camera. The animated newspapers 
revive the scenes, proving how useful the 
Motion Picture can be as a recorder of 

Just because you live in a small town 
is no excuse for your not 
taking up topical 
work, for you 
are probably 
the only 


do from Maine to California, want 
negatives of national importance. 
A local fair, while of great in- 
terest to Gulch Hollow folks, 
would not appeal at all to 
New Yorkers. So, before 
covering a subject, ask 
yourself whether it will 
appeal to people irre- 
spective of their loca- 

The next 



in your home town, and you 
are not up against the competition 
that prevails in the big cities. 
The animated newspapers have cor- 
I respondents stationed in most of the 
' large cities, and in order to make a 
profitable connection you will prob- 
ably have to give an exclusive option on 
your services, so far as the national field 
is concerned. 

The news weeklies, circulating as they 

item is the length. The average edi- 
tion of these weekly movies is made 
up of twenty different subjects, the 
length of which varies. As you have 
only about fifty feet at your disposal, 
this means compressing all you can 
into the negative, if you are to avoid 
expensive raw-stock wastage. Available 
negatives are paid for at from forty cents 
to a dollar a foot. Dont, whatever you 
do, develop the negative before shipping 


it, for the film editor likes to be assured 
he is getting exclusive stuff; besides, he 
has better developing facilities, taking 
this highly skilled work off your hands. 

Local topical work — and by this I mean 
events covered for local exhibitors — is in 
some respects different. The progressive 
exhibitor realizes that nothing attracts a 
full house and produces so much per- 
manent advertising as a good topical reel. 

I do not advocate taking local topicals 
on the off-chance. Put the proposition 
up to some exhibitor beforehand and ob- 
tain a definite assignment. The greater 
the number of prints in circulation, the 
cheaper you can rent them out. Many 
an exhibitor, while favorably disposed 
toward having the exclusive rights for 
their town, cannot pay the exclusive 
price. Their maximum is around ten 
cents a foot, which should yield you a 
fair profit if hired out to a string of 
theaters in your vicinity. 

The educational is but a short step. 
At present it is in great demand as 
''filler" material, altho if the interest of 
the subject warrants it, it is put out as 
a separate reel. 

In operating in a fairly large city, ex- 
pose film on the principal thorofare, the 
largest public building, church, park, 
theater, and places of historic interest 
and any interesting industries. 

The cost of a reliable camera varies 
from $29.75 to $250, and the purchase 
of the right camera at the beginning is 
very important. The "Alamo" holds but 
fifty feet of film, thereby reducing the 
possibility of negative waste to a mini- 
mum ; weighs but five pounds against a 
hundred-pound professional model, while 
the lenses are satisfactory under all con- 
ditions. The"Davsco"has a two-hundred- 
foot capacity, is simple to operate and of 
light weight. The "Movette," tho only 
seven inches long, five inches high and 
two and a half inches wide, is not a mere 
plaything. It is as simple as genius can 
make it without destroying its usefulness. 

Raw film, both negative and positive, 
is obtainable in reels of 100, 200 and 400 
feet at 3% cents a foot. A Motion Pic- 
ture film is subjected to so much wear 
and tear at the hands of the theater op- 
erator that, in order to retain its perfect 
appearance as long as possible, it should 

be printed upon a reliable stock. Most 
of the regular producers use Eastman, 
so it is best to specify this particular kind. 

If you are going to develop your own 
pictures you should be prepared to spend 
about twenty dollars on a suitable outfit. 
But the firms that are prepared to take 
care of this work charge Sy 2 cents a foot 
for positives and half a cent a foot for 
negatives. Titles cost eight cents a foot. 

Even if you do not intend giving home 
entertainments with your film-library, you 
will need a projection machine in order 
to run each reel prior to public exhibition, 
for editing purposes. The miniature pro- 
jector has a shorter throw, but it is easier 
to manipulate and does not consume so 
much current, besides effecting a three- 
figure saving. The "Baby Simplex" con- 
tains a baby arc that can be connected 
with the lighting circuit in any house, 
which may be direct or alternating. 

In the case of large halls and so forth, 
the standard machine reigns supreme. 
The following outlines the best project- 
ors : The Model 2 Victor "Animato- 
graph" produces rock-steady, flickerless 
pictures of an image quality that makes 
an audience oblivious that it is produced 
by mechanical means. The Edison 
"Kinetoscope" may be safely recom- 
mended, because it can be easily manip- 
ulated with little experience and stands 
up well under hard service ; it is made 
in two models. The distinguishing fea- 
ture of the "Cameragraph" No. 6 A is 
that it is provided with a special device 
which lessens the danger from fire. The 
"Simplex" has many desirable features 
in its construction, which include sim- 
plicity of design and protection against 
fire hazards. The "Edengraph" is note- 
worthy on account of the fact that it 
produces perfect projection when oper- 
ated by an experienced operator, several 
special features being provided that are 
not found in other machines. The 
"Motiograph" is popular, owing to its 
durability and to the broad guarantee 
which is given by the manufacturers. 

By taking up Motion Picture photog- 
raphy first as a hobby, with the ultimate 
object of making it your vocation, there 
is no reason why you should not event- 
ually become known as the "Motion Pic- 
ture Man" of your town. 

This is a series of dramatic tableaux, 
intended to inform the uninitiated 
about the latest and most approved 
methods of hurling squash, custard and 
blackberry pies 
with the most 
accurate pre- 

apparently no misgivings, gladly hands 
over one of the choice beauties on his 
counter, little recking what he does. 
(It must be said here that these 
tableaux are largely symbolistic. Of 
course, the plain pine table doesn't 
look like a bakery-counter, but it 
gives the impression of being 
one. Nor does the pie-seller 
V look like a baker. His 
|||^ costume is supposed to 
be an idealistic repre- 
sentation of the 
i white cap and 
jk apron.) 

The tableaux 
were specially 
posed for the Mo- 1 
tion Picture Mag- 
azine by Mae Busch 
and Charles Conklin, 
of the Foxfilm com- 
edy companies. Both 
Miss Busch and Mr. 
Conklin have had 
many years of experi- 
ence, so their positions 
may be taken as the 
very latest word in 
authority on the art of slinging pie. 


Walking into the bakery, the innocent 
purchaser informs the chief pastry-maker 
that she has nothing for dessert tonight, 
and suggests that he sell her a nice, 
squushy squash pie. The baker, with 

The innocent pur- 
chaser has by this 
time had opportunity 
to glance at the face 
of the chief pastry- 
maker. Suddenly she 
realizes that he is the 




same man to whom she had been engaged 
only three weeks earlier, and whose be- 
trothal she had ended because he refused 
to part his eyebrows in the middle. 

Tableau IV 

The dirty deed is done ! The might 

of Jove himself would have been 

powerless to stave 

off the onrushing 


See how the in- 
nocent purchas- 
er, innocent no 
longer, laughs 
at the havoc 
she has 

With the realization 
of the awful truth 
comes decision. She 

shall sling the pie 

But no! While the baker 
begins to feel uncertain about 
his present status, we shall pass | 
on to the next exhibit. 

Tableau III 

With a cry of affright, the stricken 
pastry plasterer endeavors to dodge. He 
realizes, as we shall see, too late, that 
she whom he had thought an tnnocent 
purchaser is his former fast fiancee ! 

As she, chuckling ghoulishly, draws 
back her trusty right arm, he quails like 
a partridge. He is unable to run. 

wrought! And see the look of 
anguish on the face of the doughy and 
doughty baker, as he realizes that one of 
his pet pies is no longer fit to eat! 

More bitterness — he remembers that 
the purchaser has never paid for the pie ! 

Isn't there a punishment for such? 

The Freak Filmdom Farmer 


1 The movie shows are my delight, and almost 
every other night to Filmdom do I travel. 
But here I want to frankly say I dont exactly 
like the way scenarios unravel when dealing 
with the country folk, as tho farm-life were 
some huge joke — it is the way they show it. 
Too oft 'tis the director's rule to hold it up 
to ridicule, because he does not know it. The 
movie-farmer wears his hair unshorn, un- 
kempt; he cannot spare, as thru the day he 
rushes, the time to bathe his hands and face, 
his Charlie Chaplin boots to lace, or use his 
comb and brushes. His whiskers, a la Uncle 
Sam, are, all too plainly, but a sham, his fea- 
tures hard and grasping; he's always middle- 
aged or old; one feels, altho one is not told, 
his voice is harsh and rasping. Whene'er in 
screen-life he appears, this most abnormal 
creature wears the same checked shirt and 

panties. His home is always in decay, his 
fences in a shocking way, his buildings are but 
shanties. He consorts chiefly with the pigs, 
he drives dilapidated rigs, his horse is lean 
and seedy. He beats his children, scolds his 
wife, and never in his bad reel-life gives 
aught to poor and needy. Would any audience 
recognize in this perverted, hideous guise the 
farmer as we know him? We wish the Mo- 
tion Picture folk would can this miserable 
joke, and, as he is, would show him. A man 
of muscle and of brain, who tills the soil and 
sows the • grain, yet reads the daily paper ; 
who drives a motor of his own, who has a 
ringing telephone ; who does the proper caper 
in clothes of latest style and cut ; who lives 
not in a wretched hut, but in a cottage pretty. 
In short, a man quite up-to-date — in all re- 
spects a fitting mate for dwellers in the city. 

The coming of Theda Bara was not 
prophesied by the ancient Egypt- 
ians, as we have been led to believe. 
She did not open her destructive eyes 
under the shadow of the Sphinx. Allah 
is Allah — but Bara is not Bara. She is 
Theodosia Goodman, born and educated 
in Cincinnati. It is well that the vivid 
and beautiful siren of the screen in- 
geniously contrived a name by transpos- 
ing "Death" to 'Theda," and "Arab" to 
"Bara." Some way it just suits her 
distinctive personality. 

Once upon a time a famous director 
fell in love with a pretty blonde Brook- 
lyn girl and married her. But shortly 
after her marriage the lens-loving 
Lucy became Lucile Lee Stewart, charm- 
ing movie-heroine-in-waiting to husband 
Ralph Ince. 

So, when Lucy butterflied into Lucile, 
Anna Stewart, whose name suggested a 
rustic lass or an archaic queen, decided 
to crystallize into something more agree- 
ably appropriate — there emerged Anita 
Stewart, slender, youthful, beautiful; 
Yitagraph's popular star. 

Fritzi Brunette's name, like her fame, 
is studio-made. ''Brunette" was sug- 
gested by her clear, olive complexion, 
and "Fritzi" is evidence of an exuberant, 
ingrown sense of humor that tides her 
over the hard places and goes a long 
way toward keeping everybody in the 
cast "cheered up." As to her real name, 
that is as yet a secret. 

Peggy Hyland's name is a secret, too, 
for that isn't her name at all. Over in 
England her distinguished parents and a 
doting uncle (member of the English 
clergy) looked with disfavor upon her 
stage ambitions and especially to having 
the family name dragged along. "I'll 
name myself Peggy Hyland," said the 

dauntless little Britisher, "after the won- 
derful race-horse which always comes out 
ahead. 'He's lucky with the name; per- 
haps I will be." And thus a determined 
Peggy Hyland was born. 

Louise Lovely is an Australian of 
French descent and her family name is 
"Carbasse." She was called "Carbassy," 
"Carbase" and "Carbossy" until her first 
picture was shown. Then every one said 
"Isn't she lovely?" and President 
Laemmle of the Universal Company said, 
"If she is 'lovely,' why not call her that?" 
Louise Lovely she has been since that 

"Brownie" Vernon was christened 
"Agnes," but when the baby girl began 
to "take notice" she opened her big 
brown eyes in surprised wonder at every- 
thing she saw, and she received the ap- 
pellation "Brownie." As she grew older 
the name stuck because it just described 
her eyes and because she always dressed 
in brown. "I know that Agnes is the 
name of a famous saint and all that," 
says Miss Vernon*. "But I have never 
been called by the name except when I 
was very, very bad, so I associate it with 
disagreeable experiences like going to 
bed in the daytime. Brownie is much 

Zoe Bech, Universale little, emotional 
actress, is not Zoe Bech any more, but 
Zoe Du Rae. "Bech" was not pretty 
enough in her six-year-old estimation, 
and as stars, even small ones, are tem- 
peramental, she had her way, and "Zoe 
Du Rae" she will be henceforth. The 
Universal Company copyrighted and 
owns her stage name. 

Grace Valentine's family name was 
Scharrenberger. When Grace was very 
young the family went to the courts and 
had the unwieldv name changed to the 




simpler one of Snow. Even that didn't 
suit Grace, but she bided her time. On 
a certain birthday (which was February 
14th) she received from a youthful ad- 
mirer a beautiful offering of lace-paper 
hearts and other suitable emblems. On 
the back was written : "Grace, be my 
Valentine." That settled it. Then and 
there she became "Grace Valentine." 

Willard Mack found his name right 
within his own good family name — 
Charles W. McLaughlin. "W" is for 
Willard, of course, and the Mack comes 
from McLaughlin. Willard was born in 
Canada, but his parents are Irish, so he 
comes honestly by a liking for "Mack" 
in one form or another. 

"What a queer letter for a middle 
name!" exclaim the admirers of Francis 
X. Bushman ; "it doesn't stand for any- 
thing!" But it does. It stands for 

Xavier — and Francis Xavier was a saint. 
No doubt that accounts for the saintly 
expression (and demeanor) of this 
Romeo of the screen. 

Little Mary Sunshine received her 
charming sobriquet from the plays writ- 
ten especially for her. When she is a 
grown-up star she may insist upon using 
her really-truly name, Helen Marie Os- 
borne. But we doubt if the dignified 
appellation will hold, for as Little Mary 
Sunshine she is known and loved the 
world over. 

Billie Burke has been "Billie Burke" 
so long that the name seems to rightfully 
belong to her — and it does after a fashion. 
She took the name, soon after her stage 
debut, in memory of her father, who 
was another famous "Billie Burke'' of 
the speaking stage — a charming bit of 



A Department in Which Well- Known Players Relate 
Personal Experiences 

When Warde "Released'* "Doug" Fairbanks 


IT is popularly supposed that first Tri- 
angle and then Artcraft released the 
well-known "Doug's" animated like- 
ness, but he says that Frederick Warde 
"released" him. The fact that Warde is 
not a releasing nor producing concern, 
but a distinguished stage actor and screen 
player whose films are released thru 
Pathe. serves to muddle the situation. 

And yet "Doug" says it is true. 

"Before I learnt very much," he con- 
fesses, "about the science, art and ethics 
of mining, I saw Frederick Warde in his 
repertoire of classic stage-plays and de- 
cided that, as a mere capitalist, I should 
be wasting time. The call of the higher 
drama lured me all the way to Richmond, 
Va., where I made my first appearance 
with Mr. Warde in the role of Francois, 
in 'Richelieu.' 

"In this character and in that of Florio, 

in 'The Duke's Jester,' which followed, 
I failed to make any perceptible dent in 
the classic drama, but I probably wore 
the most astonishing costumes ever be- 
held on the native stage, being fitted out 
by a well-meaning but misguided ward- 
robe mistress in odds and ends of ancient, 
modern and medieval garb. 

"So effectually did my costume suc- 
ceed in breaking up the actors and ac- 
tresses who happened to be on the stage 
whenever I made my entrance that Mr. 
Warde 'released' me without visible signs 
of pain on his part." 

"If 'Doug' admits it, it must be true," 
says Frederick Warde. "But it was so 
many years before either Mr. Fairbanks 
or myself ever dreamt of picture work 
that I fail to recall just how bad an actor 
he was, and nowadays nobody would 
believe me if I did." 

The Rattle-Snake Rancher 


Before I decided to elevate the pic- 
tures by becoming a screen vil- 
lain, I lived on an olive ranch, near 
San Diego, Cal. But olive-growing did 
not furnish quite enough excitement, so 
I decided to experiment with rattle- 
snakes. There are two varieties of rat- 
tlesnakes : the black mottle and the yel- 
low mottle. The former are far more 
deadly than the latter and are found in 
the mountains, while the yellow mottles 
inhabit the valleys and hot desert lands. 
Rattlesnakes are very numerous in 
Southern California — entirely too nu- 
merous — so it was easy to catch a few 
of each breed and transfer them to the 
two wire enclosures I had made for them. 
My brilliant idea was to try to interbreed 
the two species, just to see what sort 


of reptile would result. I still think it 
was a brilliant idea — but it didn't quite 
work out. I got the snakes into the pen, 
while my Chinese cook stood by and 
watched the last one wriggle out of the 
box and fall into the pen. Then Charlie 
Foo looked at me and said something in 
Chinese — I think it is just as well that I 
do not understand Chinese. 

I finally got them sorted, three yellow 
ones and three black ones in each pen, 
and awaited developments. One morn- 
ing I noticed that one yellow one had 
crawled thru the wire netting into the 
other enclosure. So I took a long stick 
and tried to flip him back into his own 
pen. I became so absorbed in trying to 
dispossess my yellow friend that I forgot 
to watch the other five, and, like a flash, 




one struck me on my left hand, which I 
had unconsciously lowered over the 
three-foot wire netting. 

I gave a wild yell for my foreman to 
hitch the bronchos to the buckboard, 
dashed to the barn, buckled a broad 
leather strap around my wrist and stood 
sucking the wound while the ponies were 
hitched. The foreman drove and kept 
applying tobacco to the wound as fast as 
he could chew, while I lashed the 
bronchos on to a full gallop. The ponies 
were game and stuck to the job as tho 
their lives depended on it. I have been 
in many wild rides since, but never ex- 
pect to experience another one like that. 

When we dashed up to the doctor's 
office in San Diego, sixteen miles from 
the ranch, my arm was numb and black 
to the elbow. But when the doctor fin- 
ished cutting and jabbing antidotes into 
my swollen hand, he said it would be all 
right and that I could thank my foreman 
and his tobacco for saving my arm and 
possibly my life. It took three weeks for 
my arm and hand to regain their normal 
size and color, and the little white scar 
will be always with me. 

Shall I try it again some time? No, 
thank you ! I dont care if they would 
hatch out red, white and blue. I'm 

My Makeshift Evening Gown 


This is distinctly a story which I 
am sure will interest my women 
audience. My first experience 
as a film artist seemed at the time a 
tragedy, but, by my own ingenuity, it 
turned into a comedy with most grati- 
fying results. 

On that eventful day I was cast for 
the leading part in a dramatic pic- 
ture and told to report with several 
house-dresses and one negligee. But, 
as we progressed with that scenario, 
it became evident I also required a 
very elaborate evening-gown. 

The " set " was ready ; the light fail- 
ing rapidly; the director impatient, 
and I needed the evening-gown. Now, 
I live some three miles from the 
studio, and every woman will appre- 
ciate the circumstances and the un- 
settled state of my mind. I was 
surely perplexed. As I stood discon- 
solately, my gaze happened to rest 
upon a pair of lace curtains which 
were being used in the set. Imme- 
diately, womanlike, I realized what a 
gown I could create with those cur- 
tains, and I determined to get them. 

I implored the director to permit 
me to use them. I explained to him 
how, in a few minutes, I could report 
clothed in an evening-gown appro- 
priate to the situation and occasion. 
The director was a man, and, of 
course, he failed to understand me. 

However, I persisted in pleading my 


' ' Even in my wildest moments, ' ' he 
said, "I cant conceive how you could 
possibly fashion a gown from a pair 
of curtains. Besides, those draperies 
are expensive." 

He hesitated, and I knew I would 
win. And when I promised not to 
even cut into them, he flung me a pity- 
ing look — a dare to return in the given 
time with anything presentable. He 
didn't know women, poor chap. I 
accepted his dare. Then, without a 
moment's hesitation, I grabbed those 
draperies from the doorway and at 
the same time I appropriated a beau- 
tiful silk cover from the table and 
disappeared into my dressing-room. 

My feminine audience will under- 
stand how easily I fashioned that 
fairy gown — a square train ; a wide 
girdle of silk with long, flowing 
ends; a crystal chain, appropriated 
from the chandelier by a sympathetic 
property man, completed my costume. 

Since that day I have had many 
beautiful evening-gowns, but none of 
them compared with the fairy gown I 
made from those lace curtains and silk 
table-cover, on the spur of the mo- 
ment. My director, too, was awfully 
pleased. "You deserve," he said, 
smiling, "a pair of 'curtain calls' at 
your first screen appearance." 



It Reminded Him of the Battle-fields 


War, Monsieur, is not so terrifying as 
one who has not been in it may 
conceive. Pardon me if I remind 
you that I have had the experience — two 
long- years of it. But, as a motor dis- 
patch-bearer for France, I felt no horror, 
particularly, at what fate might be hover- 
ing over me, preparing to strike the next 
moment. The Great Divine, it seems, has 
provided at least one single solace in this 
game of life and death. He has made 
the bullets, the shrapnel and the tre- 
mendous bombs to fly so quickly at us 
that we cannot see them. And what we 
cannot see, we do not fear so much. 

In truth, I have had some experiences 
in the production of my cinema-plays 
which have filled me with more terror, 
momentarily, than battlefield ventures. I 
shall mention the last of such, for it is 
the most vivid now in my mind. I had 
conceived what you might call a "thriller" 
as a scene in my third Essanay comedy, 
"Max in a Taxi." Having been disin- 
herited by my wealthy father, the sce- 
nario directed that I lie down in front of 
an onrushing express-train, thus to doff 

my life-burdens. The train was to rush 
down upon me ; all would be over — but 
no! Within ten feet of where I lay was 
to be a switch, which the audience had 
not perceived. And, even as the engine's 
pilot stretched forth to snuff out my life, 
the train suddenly was to strike the 
switch, swerve to a side-track and whizz 
past, leaving me and my life-burdens 

The scene was filmed without a flaw. 
I lay down upon the track ; the huge ex- 
press-train rushed up to within ten feet 
of me. The switch opened and it swung 
to the left and past. Yet during the fleet 
second of the action, the terrible horror 
almost paralyzed me — What if by some 
unforeseen accident the switch refused 
to open? Here was death which I could 
see hurtling directly at me. I could not 
escape it. 

As I said before, all went well. But 
as I arose from that track, I felt almost 
a craving, Monsieur, for the battlefields 
again. There, at least, I did not have to 
look at the death as it rushed at me or I 
rushed at it. 

A Near-Drowning Scene That Was Not Filmed 


"/°\ NCE u po n a time" — that's the way 
\J all true fairy stories begin — but 
this is not a fairy story ; it is true 
and happened in 1911. 

I was playing with the Pathe Company, 
as lead opposite Lucille Younge, in "The 
Indian's Gratitude." One noon-hour, 
while on location at Little Falls, N. J., 
Miss Younge was canoeing with a young 
man of the company. Neither of them 
could swim ; their canoe upset in the 
rapids below the falls. Both clung to the 
upturned canoe, then lost their .hold. Miss 
Younge grabbed the young man about the 
neck ; both went under, and, coming to 
the surface, he vainly tried for a moment 
to unclasp her rigid hold, freed himself, 
and got to shore somehow, leaving her to 
flounder in the rapid current. 

Miss Younge had gone under for the 
third time, as I was coming upstream in 

my canoe. I dived and swam to the spot 
where she disappeared, As I reached 
her, her hands were clasped in prayer 
(as she gradually sank). I grabbed them 
and as we rose to the surface she grabbed 
my shoulder. I started for shore. She 
let go and disappeared again. Again I 
dived. She grabbed my leg. A struggle 
for life ensued under the water, while 
spectators and members of the Pathe 
Company lined the shore. Becoming des- 
perate, I wrenched myself free, and as 
I rose to the surface I grabbed her again, 
and was about to strike her, to overpower 
her ; but she was unconscious. I swam 
toward shore with her. Straight, rocky 
cliffs lined the banks and thirty feet of 
water below. I grabbed a narrow ledge, 
held on, spoke reassuringly to Miss 
Younge, who had partly revived, for fear, 
if she struggled again, both of us would 



probably have drowned. It seemed like 
an age until several boys, members of the 
company, came to my assistance and 
helped me lift Miss Younge out of the 
water. Mrs. Louise J. Gasnier, wife of 
the managing director of the Pathe Com- 
pany, was one of the first to congratulate 
me. I think, for a fractional part of a 

second, when I thought I was going down 
for the third time, I saw visions of all 
my past naughty, bad deeds flash before 
me, like a speeded-up ten-reel film. This 
thrilling scene was left out of "The 
Indian's Gratitude," for the reason that 
the camera-man was one who came to 
my timely aid. 

Things That Happen "On Location" 


These reminiscences, humorous in- 
cidents of my Motion Picture 
career, seemed funny to those 
who, as spectators, applauded; but to 
me they were serious occurrences. 

One day, while playing the charac- 
ter of a policeman, I waited on the 
corner for my cue, which was a 
small boy who was to tell me there 
was a fire up the block. Incidentally, 
with the youngster came a citizen, 
who inquired for a certain locality, 
he believing me to be a regular 

The camera was in full action, so, 
of course, I could not explain. One 
look, one word, and I would have 
ruined the picture. I realized all that 
and darted off in the direction the 
boy had given, without a single word 
to that pedestrian. Catching the 
spirit of the occasion, and prompted 
by curiosity, he yelled : ' ' Hey, where 
is the fire?" 

After we were out of range of the 
camera, I quietly informed him there 
was no fire. Naturally, he was disap- 
pointed, and was about to rake me, 
thinking the boy was playing a joke 
on me, when I told him it was all in 
the picture. Disgruntled, he turned 

away and muttered: "Gee, I suppose 
I'm in it, too!" 

Another time I impersonated a 
glazier. A small boy was supposed to 
throw a stone and break the glass 
which I carried in a frame on my 
back, and I had to chase him. He ran 
into a hallway, where I caught him 
and proceeded to give him what ap- 
peared to be a sound thrashing. 

The boy yelled and screamed, to 
make the scene realistic. His cries 
brought a kindly disposed Italian 
woman to his assistance, and she 
promptly dashed a pail of water in 
my face. I was compelled to act my 
part just as tho that woman's inter- 
ference was premeditated, because the 
camera was working and several hun- 
dred *feet of film would have been 
spoiled if I had shown my displeasure, 
or I had desisted in my effort to chas- 
tise the boy. 

When I left the hallway, soaked to 
the skin, I was heartily greeted by 
my companion players. Of course we 
endeavored to explain to. the irate 
woman that we were only "making 
a picture, ' ' but she would not be con- 
vinced, and I believe she was sorry 
she hadn't given me another bath. 

"When we were making scenes for 
a Western picture," says Tom Mix, 
"as a sheriff I led thirty mounted 


Keep well in the lead of your 
men, sheriff,' cautioned the director, 
'because in the scene that follows you 
capture the outlaw.' 

"We swung into range of the cam- 
era at full gallop. Eight in the midst 
of the scene my horse stepped into an 
old post-hole, breaking his leg, and I 

was pinned under him. I knew my 
men were too close for me to turn, 
and I expected them to ride over or 
pile upon me. 

"Imagine my surprise when all of 
them jumped completely over me 
and my horse 'jack-rabbit' fashion. 
When I rose the director eyed me 

" 'Mr. Sheriff,' he said, 'I see you 
are not hurt. Please keep before 
your men, not under them.' " 

A Story- 
Book Romance 




Photos by Underwood & Underwood 




S-y* -* eyes and midnight hair. 

Her name? Oh, her name is 
as pretty as she is — it is Rita Jolivet. 
Mademoiselle Jolivet, who is and 
was a very famous Continental actress, 
met his lordship, the Count, at a dinner- 
party given by a mutual friend in Paris. 
They were instantly attracted, and, as 
the hostess had very kindly paired them 
for the dinner, they lacked no opportunity 
of becoming better acquainted. The Count 
begged permission to call. Mam'selle 
Rita shrugged pretty ivory shoulders and 
refused, as she was leaving Paris the 
next day for a month's rest. And she 
was giving no one her address, as she 
wished to be quiet and really rest. The 
Count was compelled to accept her de- 
cision as final — for the moment. 

A week later, in a little Brittany vil- 
lage, they met again — much to her sur- 
prise and his delight. Enjoying the zest 
of being pursued, the pretty French lady 
slipped away that night, leaving no faint- 
est clue by which his lordship could trail 
her; but, two days later, they met again. 
The chase continued thru the Riviera, 
and finally to Monte Carlo. Then, 
Mam'selle Rita tiring of the chase, an- 
nounced that she was leaving immediately 
for Nice, for an engagement. 

Then the Count had a brilliant idea. 
As part owner of the Ambrosio Motion 
Picture Company, he offered Mam'selle 
Rita an enormous sum to play the lead 
v in a picture for his company. She had 
done little in Moving Pictures, but 
upon the Count's promise that she 
_ \ should do one of D'Annunzio's beau- 
tiful poems, she consented. That 
was really only the beginning, for 
, it was not until the picture had 
started that the Count and his 
* fair lady really had 
an opportunity 

to k n o w 



Photo by Unumvood & Underwood 




each other seriously. They 

found that they had many 

tastes in common, and 

boat crossing the Channel she met an old 
friend, Oliver Morosco. He had seen 
her latest success, the Ambrosio picture, 






from then on their 
friendship grew swiftly 
to something more. But 
before the Count had time 
to declare himself, Mam'selle 
Rita was called to London by 
the illness of a sister. On the 


and made her promise that, if 
she ever came to America 
again, she would "do a pic- 
She prom- 
ised, thinking that it would 
be a long, long time before 
she again saw the shores of 
America. On her last trip, 
during which she worked in 
a picture for Jesse L. Laskv, 
called "The Unafraid," she 
had gone thru the horrors of 
the Lusitania disaster, during 
which she stood beside the 
late Charles Frohman, who 
lost his life in the same 
disaster. It was 



Mam'selle Rita who gave to the world 
the theatrical manager's beautiful last 
words, "Why fear death? It is only a 
beautiful adventure !" — so it isn't hard to 
understand her reluctance to again make 
the trip. 

Immediately after her arrival in Lon- 
don she received a message from the 
Count, announcing his departure for 
England. Her sister recovered, and, as 
soon as she was able to be present, the 
wedding between the long-persistent 
nobleman and the lovely French actress 
was solemnized, "at the home of the 
bride's parents, Mayfair, London." Evi- 
dently his lordship had tired of the chase 
also, for he had been in London only 
two days when, taking his lady-love 
firmly by the arm, he led her into the Ritz, 
ordered tea as an excuse, and the mo- 
ment the waiter's back was turned, pro- 
posed in no uncertain tones. Whereat 
the lady dimpled, smiled a bit roguishly 
to hide the tears in her lovely black eyes, 
and said yes. And the rest followed, 

The trip to America came about thru 
the Count's anxiety to look over the 
American methods of picture production 
with a view to improving his own com- 
pany and studios. So it was turned into 
a honeymoon. The Countess had decided 
to leave the stage for ever, and to devote 
herself to her husband and her homes — 
a London house, for the brief English 
season ; a villa at Naples ; another charm- 
ing home in* Paris for the season, and a 
hunting-lodge in Scotland. 

But, true to her promise, she did 
one picture for Air. Morosco's company, 
"An International Marriage," which will, 
therefore, be the last subject in which 
the Countess de Cippico will appear be- 
fore the public. 

The honeymoon in Los Angeles did 

not in the least interfere with the Count- 
ess' work or her husband's investigation 
of American picture-producing methods. 
They arose very early, breakfasted in 
riding-habits, and were off, almost with 
daybreak, for the long, country gal- 
lops which they both love so much. One 
of their most frequent pilgrimages was 
to the Forest of Arden, the former home 
of Helena Modjeska, the famous inter- 
preter of Shakespeare's feminine roles. 
The Countess' many portrayals of Shake- 
spearean roles in France have made her 
a great admirer of Modjeska. And, by 
a strange coincidence, one of her latest 
theatrical managers occupied the same 
position with the famous Modjeska. And 
it was from him that the Countess learnt 
many interesting little personal incidents 
of the life of the great Shakespearean 
actress, all of which made for more 

The Countess is a very beautiful 
woman — just at the loveliest stage of her 
womanhood. She has great, dark eyes, 
masses of waving black hair, and very 
small hands and feet. Her skin is very 
pale, with not a vestige of color save for 
her lips, which seem all the redder by 
contrast. She is sweet and gracious, 
worthy in all respects to be the mistress 
of the several ancestral homes which her 
marriage to the Count brings to her. 

That this "international marriage" will 
be a very, very happy one is an ob- 
vious fact ; and while we, being loyal 
Americans, could have wished that so 
lovely a visitor might have placed the 
keeping of her heart and happiness in 
the strong, lean fingers of an American 
man (how would Forrest Stanley or 
Courtenay Foote do?), still we are gen- 
erous enough not to dislike the Count 
simply because of his luck, and we heart- 
ily congratulate him. 

I Wonder When — 

Theda Bara will play the innocent country girl. 

David Warfield will say, "The movies for mine." 

Griffith will direct a split reel. 

Pathe will stop making serials. 

Gardner Sullivan will stop writing scenarios. 

Ambitious amateur actors will not complain about 
the poor detail in "The Birth of a Nation." 

Roscoe Arbuckle will truthfully say, "I'm only 
thirty inches around the chest." 

Keystone will secure the rights to Shakespeare's 

Chaplin will play Othello. 

Harrison Fisher will paint subtitles. 

Douglas Fairbanks will cry. 

We will see pictures without music. 

E. H. Sothern will like the Huns. 

Leo Delaney will play a prohibitionist. 

Charles Kent will play Youth. 

The Answer Man will make known his name. 

Dreams come true. 

Frank O'Neil Power. 

The Morality of the Motion Picture World 


Editorial Note — The Portland (Oregon) Chamber of Commerce and the Portland 
newspapers decided that life in and about the Los Angeles studios was immoral. 
It became the subject of heated argument in the press and in community meetings. 
They decided to investigate. William G. Harrington, formerly head of the Depart- 
ment of English and Public Speaking, Pacific University, was chosen. He was 
clothed with police power, backed by every good influence in Oregon, and went to 
Los Angeles with a corps of investigators. At first they worked "in the dark" 
unknown to the studios, and later every picture plant was thrown "wide open" to 
them. What Mr. Harrington learnt from dance-hall, proprietors, car-conductors, 
chauffeurs, waiters, telephone operators, hotel clerks, the police, and, finally, from 
the players themselves, is herewith set forth in a most unusual continued article 
beginning with this number* and continued in the November and December numbers. 

Current gossip concerning the photo- 
dramatic world is malodorous in 
its rumors. A preacher asserts 
vehemently that the moral conditions of 
the Motion Picture studios are intoler- 
able. He brands them as ''movie camps'" 
— sources of licentiousness and corrup- 
tion. A popular girl who sought employ- 
ment in the studios in Los Angeles, and 
failed to obtain it, tells her friends that it 
is impossible for a girl to obtain and hold 
a position as a Motion Picture actress 
unless she is willing "to pay the price." 
A tourist who has passed thru Los An- 
geles reports that it is whispered there 
that many Motion Picture directors have 
their "private harems" — that outcasts 
from the studios accost one on the street, 
driven to sell body and soul that they 
may live. 

These amazing assertions demand seri- 
ous consideration. They involve a tre- 
mendous economic factor in the business 
world — the character of thousands em- 
ployed in the production of photoplays, 
and the moral welfare of the public. 

The Motion Picture industry has de- 
veloped with such remarkable rapidity 
that it now ranks fifth of all the great 
commercial activities of the United 
States. The annual overhead expenses 
of all the leading film-producing com- 
panies is estimated to be $270,000,000.00. 
The monthly expenditures of the twenty 
largest concerns in Los Angeles ex- 
ceeds $1,000,000.00. They employ in 
the aggregate over 12,000 persons 
regularly. In addition to these "stock" 
employees, from 1,500 to 2,000 extras 
are frequently used in one studio in a 
single day. Moreover, filmdom is now 
peopled by the world's most celebrated 


dramatic artists. The "Rialto" of Los 
Angeles has eclipsed "Broadway." Ger- 
aldine Farrar, Marie Doro, Fannie Ward, 
Blanche Ring, Billie Burke, Elsie Fergu- 
son, Frank Keenan, Lina Cavalieri, 
John Barrymore, Theo. Roberts, De 
Wolfe Hopper, Dustin Farnum, Walker 
Whiteside, Tyrone Power and many 
other famous stars of the "legitimate" 
have joined the photodramatic col- 
ony in Los Angeles, a colony that in- 
cludes within its exclusive circle more 
beauty, intellect, temperament and skilled 
dramatic technique than any other dra- 
matic coterie. 

Furthermore, 50,000,000 people in this 
world attend photoplays every twenty- 
four hours. In the United States alone 
the film-loving public spent $297,000,000 
during 1915, that it might gaze upon the 
fascinating screen. 

Again, probably there is no other activ- 
ity that attracts so many girls of the tem- 
peramental, impressionable and plastic 
type. Everywhere there are sweet, beau- 
tiful girls who are dreaming of a career 
in the photodrama, toiling and planning 
that they may save enough money to 
enable them to obtain a personal inter- 
view, which they hope will be the open 
sesame to success in filmdom. Every- 
where many fond parents are considering 
whether or not it is safe to permit their 
daughters to enter the Moving Picture 

With these facts in mind, it is perti- 
nent to inquire — 

Should malodorous current rumors be 
given credence ? 

Is it possible that such a vast enter- 
prise as the Motion Picture industry is 
built upon the sands of moral weakness? 



Are the foremost people of filmdom, 
together with thousands of "supports" 
and "extras," living in an atmosphere of 
shocking immorality? 

Do the 50,000,000 people who attend 
Motion Pictures daily subject them- 
selves to moral contamination in witness- 
ing the dramatic art of degenerates? 

Is the vast sum of $297,000,000 worse 
than wasted in patronizing the pernicious 
products of dens of iniquity, where the 
loss of character is the price of admission 
and success? 

Does the lure of the screen attract in- 
nocent girls from sheltering homes and 
lead them to a life of degradation? 

In justice to the great photoplay in- 
dustry and its thousands of employees ; 
in justice to those who aspire to a career 
in photodramatic art; in justice to the 
great public which patronizes the Motion 
Picture theaters, the truth should be 

What Are the Facts? 

• Obviously, one must analyze current 
public opinion, and supplement that 
analysis with an open-minded, impartial 
investigation of conditions in the Motion 
Picture studios, if he is to arrive at ac- 
curate and just conclusions. 

As the first step in this analysis, 
general public opinion must be eliminated. 
It is too remote, too vague and indefinite, 
to be admissible. In a word, it is mere 
hearsay evidence. Public opinion in Los 
Angeles, however, is worthy of serious 
consideration. There the people have an 
opportunity to see photoplay actors and 
actresses, observe their conduct and esti- 
mate their character. 

Conversations with many individuals 
in Los Angeles whose opinions might be 
considered typical, elicited this informa- 
tion : 

Two hotel-clerks at first-class hotels 
said in substance that the Motion Picture 
people were among their most desirable 
guests — that their deportment was above 
criticism. Both admitted, however, that 
they had heard rumors of gay life in 
filmdom, but knew nothing of it per- 

Inquiry at second- and third-rate hotels 
revealed the fact that the film people did 
not patronize them. As one clerk put 

it, "They make good money and the best 
is none too good for them when they 
come down-town." 

At three leading cafes where Bohemian 
life is free and unconstrained, the head 
waiters knew of no prominent photo- 
dramatic artists who were regular 
patrons. At one cafe the head waiter 
said, "Occasionally, two or three men 
whom I have seen on the screen and also 
know personally, drop in for an hour 
or so. They eat and drink sparingly and 
leave early. I have yet to see'bne drunk." 
At another cafe this information was of- 
fered : "They work those people mighty 
hard, I guess. I never saw anybody who 
amounted to anything in 'pictures' here. 
If they have any little parties, they must 
pull them off at home." At a third cafe 
it was learnt that "once in a while a 
girl who calls herself a 'movie actress' 
blows in here, but we soon get her num- 
ber. L T sually the fact is she has been an 
'extra' in some play and ran down the 
street in a mob scene, or 'mebbe' got next 
to the furniture with a feather-duster." 

Four different barbers looked wise and 
dropped hints to the effect that the 
"movie people" were some warm bunch. 
When pressed for explicit information, 
they confined themselves to generalities. 
None could mention a single case of mis- 
conduct of which he had any personal 
or definite knowledge. One affirmed, 
"They say that down at ," men- 
tioning a studio outside of Los An- 
geles, " 'the boss' has the pick of the 
girls." When pressed for more accurate 
information, he admitted that he knew 
nothing definite. 

Conversations with three representa- 
tive business men were more satisfactory 
from the standpoint of definite informa- 

One said : "Why, I know some of these 

people well. C ■ is a good friend of 

mine. He and I lunched together only 
the other evening. I've watched the Mo- 
tion Picture business grow from nothing 
to what it is today, and I know this cheap 
talk about 'harems' is all rot." Another 
said: "The public has always looked 
askance at actors and actresses, and prob- 
ably that explains this gossip about Mo- 
tion Picture studios. Personally, I know 
nothing one way or the other, but I think 



most of what you hear on the street is 
entirely without foundation." The third, 
a banker, said : "Absolutely nothing to it 
as far as the big" men are concerned. 
They do business on a million-dollar 
basis. Character is one of their assets. 
Their credit would be immediately im- 
paired if bankers knew of questionable 
conduct. What the rank and file of their 
employees is, I dont know. I suppose oc- 
casionally some of them go wrong just 

as thev do in all walks 

of life." 

One street-car conductor on a line run- 
ning to Hollywood said : "The stars do 
not ride with us. They ride in limou- 
sines. We dont carry anybody but 'ex- 
tras,' and they are not really in the 
studios." Another said: "A swell-look- 
ing Scandinavian girl rode out with me 
one day. She had an awful time making 
me understand where she wanted to go, 
her English was so bad. I saw a slick- 
looking guy watching her and he got off 
when she did and followed, her. He 
might have landed her, for 
she certainly was a 
there is al- 




as d. w. Griffith's 

Two clergymen of different de- 
nominations, who were interviewed, 
held widely different opinions. One 
knew nothing personally and had 
nothing to say, except that he thought 
clean, educational Motion Pictures 

other was opposed to all forms of modern 

were a great boon to the masses. 

general principles. 

somebody looking for a girl like that." 
Another conductor pointed out a hotel in 
Hollywood and said : "They pull off some 
high jinks there." When asked if he 
knew anything definite about it, he said: 
"Of course, I only know what they say." 
A number of policemen, accosted at 
random, said in substance, "The movie 
bunch never Gfive us anv trouble." 








Chief J. L. Butler, the present head of 
the Los Angeles police force, said : "The 
Motion Picture people are as well- 
behaved as any in the community/' 

A prominent bureau head of the Los 
Angeles Chamber of Commerce said: 
"The Motion Picture business is of great 


value to us. Thousands of new citizens 
are being brought here thru the medium 
of the Motion Picture industry — men and 
women who build homes, identify them- 
selves with the civic, social and industrial 
welfare of this community and become 
Angelenos in the best sense." 



Inquiries were made of many others — 
including- waiters, bootblacks, chauffeurs, 
drug-clerks, real estate and insurance 
men, telephone operators and photog- 
raphers, but none could cite any specific 
case of immorality or refer directly to 
any one who had personal knowledge 

All of this evidence, gath- ■> 
ered promiscuously from ^./-^ 
citizens of Los 
Angeles, fails to 
substantiate, in 
any particular, 
allegations o f 
moral corrup- 
tion in the 
Motion Pic- 

plovment offices. He found ordinary 
business offices, flooded with sunlight and 
equipped in the conventional manner 
with desks, filing cabinets, typewriters, 
telephones, etc. Every- 
where clerks were < J 


world. Some of it intimates that condi- 
tions were bad, but not a scintilla of it 
can be said to establish reasonable proof 
of immorality. On the ether hand, the 
preponderance of it is in the nature of 
refutation of suggestive insinuations. 

Comes now the matter of personal 
survey of existing conditions within the 

^ There are forty- four in Los Angeles. 
Some are not doing business, but the 
active concerns were too numerous to 
permit a thoro examination of all. Ac- 
cordingly, it seemed wise to concentrate 
on the leading studios — those that might 
be considered representative of the stand- 
ards and ideals of filmdom. 

In his investigation, the writer began 
at the entrance to movieland — the em- 


The click of the typewriter and 
the sharp ring of the telephone 
were heard at intervals. The engag- 
ing directors were gentlemen of \ 
refinement and education — busy men 
who spoke briefly but courteously, ani- 
mated apparently by a sincere desire 
to discover talent. Applicants were 
questioned as to age, education, ex- 
perience, etc., in an endeavor to de- 
termine moral as well as intellectual 
worth. The arduous work of photoplay 
acting was emphasized. The uncertainty 
of promotion and success was clearly in- 
dicated. The need of all that one pos- 
sessed in the way of health, courage, 
patience, cheerfulness, etc., was stressed 
earnestly. In brief, at all of the offices 
applicants were told the plain truth. No 



effort was made to induce them to enter 
the Motion Picture field. On the con- 
trary, they were consistently advised not 
to make it their objective in life. Only 
occasionally was an applicant of un- 
usual talent or experience given encour- 
aging assurances. Nowhere was there 
the slightest indication that a girl would 
be required to compromise herself in 
order to obtain favorable consideration. 

In this connection it should be noted 
that at the Fine Arts-Triangle Company 
there could be absolutely no question con- 
cerning the strict propriety of this mat- 
ter of employment. Here the applicants 
were segregated, and the girls and 
women made their applications directly 
to Lucille Brown, who was the employ- 
ment secretary and official "mother" for 
the company. Men had nothing whatever 
to do with female applicants until their 
applications had been considered and ap- 
proved by Mrs. Brown. Mrs. Brown is 
a keen, yet kindly woman, who quickly 
determines the capabilities of applicants, 
and tenderly watches over those who are 
admitted to her care. She pointed with 
motherly pride to girls in their teens who 
appeared as innocent and care-free and 
well-behaved as children in the most ex- 
clusive homes. "I love them all," said 
Mrs. Brown, softly, "and care for them 
just as if they were my own children, and 
none have gone astray yet." One could 
readily see that she spoke truly. 

Speaking more generally, entrance to 
the "forbidden land" of filmdom re- 
vealed that its morals are more zealously 
guarded than are those in the outer 
world. The foremost producers early 
recognized the possibilities of scandal 
where the day's work required large 
numbers of both sexes to mingle pro- 
miscuously, and in order to protect all 
concerned against any occurrence that 
might give rise to public criticism, they 
caused certain competent women to be 
appointed as official guardians of the 
moral welfare of all female employees. 
The duties of these women vary in detail 
in each studio, but in all the general scope 
of their work is substantially the same — 
in all they are given plenary powers to 
deal with possible emergencies. They 
may recommend for immediate dismissal 
any employee whose conduct does not 

meet with their approval. They are not 
required to prove anything. The mere 
fact that they are dissatisfied with appear- 
ances is controlling with the management. 

There are